PS 

3543 

B 

T5 


SB    fll3 


THE  THIRTEENTH  CHAIR 


By  BAYARD  VEILLER 


SAMUEL  FRENCH,  25  West  45th  St.,  New  York 


Pollyanita 


The  Klad  play,  by  Catherine  Chisholm  Crashing-,  after  th« 
novel  by  Eleanor  H.  Porter.  5  males,  6  females.  2  interiors. 
Costumes,  modern.  Plays  2%  hours.  An  orphan  girl  is  thrust 

Into  -" iJ~    A      «- — •**~—»*- **"*  +™«i«-Miat 

beset  •  ^.  ^H 

bring, 

out  tl 

In  Jii 

and  t 

the  s 

Pr 


of  th 

tumet 

Ft 

kind 

tomo; 

M: 

the  t 
fan-id. 
Play, 
Price 


A 

6    fez 

'*„' 

cease 

an  a 

IB 

love. 
humi 
the  i 


<and 

WOOil 


form 


danc< 
Sets 


his  f 
delic 


"PS  ^  545 

e.4" 

-T5 


setf 
»ple 
ave 


rhor 


the 
Dver 

for 

"ngf 
the 

¥25. 


lays 

haa 
not 

of 
most 
kel, 

dy," 

iself 

his 

ther 


-bye 
grain, 
and 
WHy 

and 


SAMUEI,  FRENCH,  25  West  45th  Street.  New  York  City 

New   and  Explicit   Descriptive    Catalogue   Mailed 

Free   on  Bequest 


THE  THIRTEENTH 
CHAIR 

A  PLAY  IN  THREE  ACTS 


BY 
BAYARD    VEILLER 


COPYRIGHT,,  1916,  BY  BAYARD  VEILLER 
COPYRIGHT,  1922,  BY  SAMUEL  FRENCH 


All  Rights  Reserved 


CAUTION  —  Professionals  and  amateurs  are  hereby 
warned  that  "THE  THIRTEENTH  CHAIR,"  being 
fully  protected  under  the  copyright  laws  of  the 
United  States,  Great  Britain  and  Canada,  is  sub 
ject  to  a  royalty,  and  anyone  presenting  the 
play  without  the  consent  of  the  author  or  his  auth 
orized  agents  will  be  liable  to  the  penalties  by  law 
provided.  Applications  for  the  amateur  acting  rights 
must  be  made  to  SAMUEL  FRENCH,  25  West  45th 
Street,  New  York, 


NEW  YORK 
SAMUEL  FRENCH 

PUBLISHER 
25  WEST  45TH  STREET 


LONDON 


SAMUEL  FRENCH,  LTD. 

26  SOUTHAMPTON  STREET 

STRAND 


"The  Thirteenth  Chair" 
All  Rights  Reserved 


Especial  notice  should  be  taken  that  the  possession  of 
this  book  without  a  valid  contract  for  production  first 
having  been  obtained  from  the  publisher,  confers  no  right 
or  license  to  professionals  or  amateurs  to  produce  the  play 
publicly  or  in  private  for  gain  or  charity. 

In  its  present  form  this  play  is  dedicated  to  the  reading 
public  only,  and  no  performance,  representation,  produc 
tion,  recitation,  or  public  reading,  or  radio  broadcasting 
may  be  given  except  by  special  arrangement  with  Samuel 
French,  25  West  45th  Street,  New  York. 

This  play  may  be  presented  by  amateurs  upon  payment 
of  a  royalty  of  Twenty-Five  Dollars  for  each  performance, 
payable  to  Samuel  French,  25  West  45th  Street,  New 
York,  one  week  before  the  date  when  the  play  is  given. 

Whenever  the  play  is  produced  the  following  notice  must 
appear  on  all  programs,  printing  and  advertising  for  the 
play:  "Produced  by  special  arrangement  with  Samuel 
French  of  New  York." 

Attention  is  called  to  the  penalty  provided  by  law  for 
any  infringement  of  the  author's  rights,  as  follows: 

"SECTION  4966: — Any  person  publicly  performing  or  rep 
resenting  any  dramatic  or  musical  composition  for  which 
copyright  has  been  obtained,  without  the  consent  of  the 
proprietor  of  said  dramatic  or  musical  composition,  or  his 
heirs  and  assigns,  shall  be  liable  for  damages  thereof,  such 
damages,  in  all  cases  to  be  assessed  at  such  sum,  not  less 
than  one  hundred  dollars  for  the  first  and  fifty  dollars  for 
every  subsequent  performance,  as  to  the  court  shall  appear 
to  be  just.  If  the  unlawful  performance  and  representation 
be  wilful  and  for  profit,  such  person  or  persons  shall  be 
guilty  of  a  misdemeanor,  and  upon  conviction  shall  be  im 
prisoned  for  a  period  not  exceeding  one  year." — U.  S. 
Revised  Statutes:  Title  60,  Chap.  3. 


"The  Thirteenth  Chair"  was  produced  by  William 
Harris,  Jr.,  at  the  48th  Street  Theatre,  New  York, 
on  November  20,  1916,  with  the  following  cast: 

HELEN   O'NEILL Katherine  La  Salle 

WILL  CROSBY Calvin  Thomas 

MRS.   CROSBY Martha  Mayo 

ROSCOE  CROSBY Gardner  Crane 

EDWARD  WALES 5.  K.  Walker 

MARY  EASTWOOD Eva  Condon 

HELEN  TRENT .Sarah   Whiff ord 

GRACE  STANDISH Rose  Aiken 

BRADDISH  TRENT Charles  Lait 

HOWARD  STANDISH Walter  Lewis 

PHILIP  MASON George  Graham 

ELIZABETH  ERSKINE Alice  Claire  Elliott 

POLLOCK A .  /.  Hendon 

ROSALIE  LA  GRANGE Margaret  Wycherly 

TIM  DONAHUE Harrison  Hunter 

SERGEANT  DUNN Walter  Young 

DOOLAN .  Wm.  Scott 


4  THE  THIRTEENTH  CHAIR 

THE  CAST 

HELEN  O'NEILL. 

WILL  CROSBY. 

MRS.  CROSBY. 

ROSCOE  CROSBY. 

EDWARD  WALES. 

MARY  EASTWOOD. 

HELEN  TRENT. 

BRADDISH  TRENT. 

HOWARD  STANDISH. 

PHILIP  MASON. 

ELIZABETH  ERSKINE. 

GRACE  STANDISH. 

POLLOCK. 

MADAME  ROSALIE  LA  GRANGE. 

TIM  DONOHUE. 

SERGEANT  DUNN. 

DOOLAN. 

ACT  I 

The   Italian   Room   in   Roscoe   Crosby's   House. 
TIME:  Evening. 

ACT  II 
Same  scene.  Ten  minutes  later. 

ACT  III 
Same  scene.  A  half  an  hour  later. 


THE  THIRTEENTH 
CHAIR 


ACT  I 

SCENE:  Italian  Room  in  ROSCOE  CROSBY'S  Home. 
A  handsomely  furnished  square  room,  door 
opening  on  stage  down  L.  Door  opening  on 
stage  at  back  L.C.  Large  fireplace  c.  at  back. 
Door  opening  on  stage  R.c. 

NOTE:  Fireplace — antique  firedogs — must 
be  large  enough  for  men  to  make  entrance  com 
ing  down  through  chimney.  Large  window  over 
R.  in  arch.  Platform  one  step  high  running  full 
length  of  window,  which  is  three  sashes  long. 
Trick  blind  on  c.  pane.  Curtains  on  pole  on 
c.  windows  to  work  on  cue.  Up  c.  in  front  of 
fireplace  facing  up  stage,  large  Chesterfield  sofa 
two  feet  wide.  Facing  audience  another  large 
Chesterfield  sofa,  c.,  sofas  setting  back  to  back. 
At  each  end  of  sofas  small  console  table.  Con 
sole  table  at  R.  end  of  sofa  is  the  trick  table 
which  ROSALIE  lifts.  R.  of  the  door,  R.C.,  large 
antique  Italian  chest.  L.  of  door,  L.C.,  large  an- 
5 


THE  THIRTEENTH  CHAIR 

tique  chest.  Vases  on  chests.  On  flat  over  LV 
large  tapestry.  Against  wall  over  L.,  running 
up  and  dozvn  stage,  long  ornate  Italian  chest. 
At  either  end  of  this  chest  Italian  lamps,  seven 
feet  high,  standing  on  floor.  On  console  tables 
at  either  end  of  sofa,  table  lamps.  On  console 
table  L.  end  of  sofa,  fancy  cigarettes,  box  with 
cigarettes  and  matchbox  and  ash  tray,  and  be 
low  door  down  LV  on  flat,  an  antique  clock. 
Below  door  down  L.,  armchair.  L.  side  of  fire 
place  chair  with  cushion  seat.  On  mantel  two 
large  antique  vases.  R.  side  of  fireplace  with 
cushion  seat.  L.  side,  below  console  table,  large 
armchair.  Over  R.  is  a  large  library  table  sit 
ting  diagonally  up  and  down  stage.  On  table: 
book  rack  with  four  books,  desk  pad,  stationery 
holder  with  stationery,  pens,  pencils,  ink  box, 
magazines,  armchair  back  of  table,  chair  below 
table,  chair  above  table.  On  platform  in  win- 
doiv  arch,  long  seat.  Below  windozv  arch  large 
armchair.  Large  wall  lanterns,  on  up  stage,  and 
down  stage,  end  of  window  arch.  Plush  Val 
ence  or  drapery  for  windows.  Rugs  on  ground 
cloth.  On  flat  R.  of  doors  up  R.c.  small-sized, 
painted  image  of  the  Virgin.  Interior  backing 
for  door  down  LV  up  L.C.  and  R.C.  Fireplace 
backing.  Exterior  backing  for  window  over  R. 
Off  stage  down  LV  run  on  floor,  large  Italian 
table  with  two  bronze  vases,  and  a  shrine  of  the 
Virgin  on  it.  Off  stage  R.c.  are  eight  small 
chairs,  to  be  brought  on  stage  on  cue  during 
first  act.  In  ceiling,  directly  over  table  RV  is  a 
double  slot  to  hold  knives.  During  first  act, 
after  WILL  puts  out  table  lamp,  after  Miss 
EASTWOOD'S  scream,  the  knife,  in  down  stage 
slot,  is  let  down  in  sight  of  audience.  Seen  with 
point  sticking  in  ceiling.  Between  second  and 


THE  THIRTEENTH  CHAIR  7 

third  acts,  the  knife  that  falls  on  cue,  during 
third  act,  is  placed  up  stage  slot  in  ceiling,  with 
point  downwards.  Setting  the  knife  down  in 
view  of  audience  in  first  act,  as  well  as  releas 
ing  the  second  knife  so  that  it  falls,  and  sticks 
in  table  during  third  act,  is  worked  by  strings 
off  stage  R. 


(As  the  curtain  rises  Miss  HELEN  O'NEILL  and 
WILLIAM  CROSBY  are  discovered  standing  R.C. 
They  are  in  each  other's  arms,  and  the  rising 
curtain  discloses  them  as  they  kiss.  Window- 
shade  down.) 

HELEN.     I  love  you  so. 

WILLIAM.  You  are  the  most  wonderful  thing  in 
all  the  world.  (She  gives  a  little  laugh  and  moves 
away  from  him  a  step  R.) 

HELEN.     I  can't  believe  it. 

WILL.     That  I  love  you  ? 

HELEN.     Oh,  no,  I'm  sure  of  that. 

WILL.  If  there's  any  doubt  in  your  mind,  I'll 
prove  it  again. 

HELEN.  They'll  see  us.  (He  takes  her  in  his 
arms  again  and  kisses  her.  She  laughs  happily. 
And  then,  turning  a  little,  stands  with  her  cheek 
pressed  against  his)  Oh,  my  dear,  my  dear. 

(MRS.  CROSBY,  a  fashionably  dressed  and  extremely 
attractive  woman,  enters  from  door  down  left, 
closes  door.  She  stops  for  a  moment,  and 
watches  the  lovers  and  then  with  a  little  laugh 
comes  toward  them.  MRS.  CROSBY  is  fifty-five 
and  looks  ten  years  younger^  she  has  charm., 
beauty  and  kindliness,  and  is  as  far  removed 


8  THE  THIRTEENTH  CHAIR 

from  the  typical  stage  mother,  as  it  -Is  possible 
for  the  management  to  picture.) 

MRS.  CROSBY.  (Coming  to  c.  a  step — WILL 
breaks  a  step)  Don't  move,  you  look  so  comfort 
able!  (They  start  apart)  Well,  are  you  happy? 
(To  R.C.  WILL  pats  MRS.  CROSBY  on  arm.) 

WILL.     Oh,  Mother! 

HELEN.     Happy ! 

(MRS.  CROSBY  crosses  to  HELEN,  pats  her  hand  and 
stands   between  WILL   and   HELEN,   R.cJ 

WILL,     Shall  we  tell  'em  all? 

MRS.  CROSBY  Tell  them?  (She  laughs)  What 
do  you  think  they  are?  Blind  and  deaf?  It's  been 
a  perfectly  wonderful  dinner.  You  were  so  blind 
to  everything  but  each  other.  Oh,  Billy,  I  thought 
your  father  would  have  a  fit. 

HELEN.  I  thought  he  had  an  awful  cold,  he  was 
coughing  terribly. 

MRS.  CROSBY.  Coughing?  He  nearly  strangled, 
to  keep  from  laughing.  I  told  him  I'd  send  him 
from  the  table  if  he  laughed  at  you. 

WILL.     Why,  you  never  spoke  to  him  once. 

MRS.  CROSBY.  (Between  HELEN  and  WILL,  c.) 

Child,  explain  to  him  that  wives  don't  have  to 

Oh,  I  forget  you  haven't  learned  that  yet.  You 
know,  Billy,  I  can  talk  to  your  father  very  effec 
tively  without  words.  (Cross  below  table  R.) 

HELEN.  (Turning  to  MRS.  CROSBY j  Mrs.  Cros- 
by 

WILL.  Mother,  Nell's  all  fussed  up  because  we've 
got  money.  She  thinks  you'll  think — I'm — what  in 
novels  they  call  marrying  beneath  me.  (He  and 
MRS.  CROSBY  laugh.  NELL  looks  a  little  hurt.) 

HELEN.     Well,  he  is. 

MRS.  CROSBY.  Nonsense,  child,  don't  be  silly. 
(Sits  down  stage  end  of  table.) 

HELEN.     (To  MRS.  CROSBY  a  step)    It's  not  silly, 


THE  THIRTEENTH  CHAIR  9 

Mrs.  Crosby.  Everyone  will  say  it,  and  they'll  be 
right. 

WILL.  Let's  settle  this  thing  now  once  and  for 
all,  then.  In  the  first  place  it's  all  nonsense  and  in 
the  second  it  isn't  true — 

HELEN.     Oh,  yes  it  is. 

MRS.  CROSBY.  Oh,  the  first  row!  I'll  settle  this 
one.  Nelly ! 

WILL.  Now  then,  Nell,  out  with  it,  get  it  all  out 
of  your  system. 

HELEN.  (Xes  to  table  R.  a  step)  In  the  first 
place;  it's  the  money. 

MRS.  CROSBY.  (Seated  below  table  R.J  Yes,  but 
__Helen 

HELEN.  Please,  let  me  say  it  all.  You  have  so 
cial  position,  great  wealth,  charming  friends,  every 
thing  that  makes  life  worth Oh,  what's  the 

use  ?  You  know  as  well  as  I  do  the  great  difference 
between  us,  and 

MRS.  CROSBY.  My  dear  child,  suppose  we  admit 
all  that,  what  then? 

HELEN.     But  don't  you  see 

WILL.  (Embracing  her  in  front  of  table  R.)  You 
little  idiot !  I  don't  see  anything  but  you. 

MRS.  CROSBY.  That's  the  whole  of  it,  children. 
You  love  each  other,  suppose  you  listen  to  an  old 
woman. 

WILL.     Old !     Huh ! 

MRS.  CROSBY.  (Seated  at  table  R.;  Well,  old 
enough.  Well,  if  Billy  was  the  usual  rich  man's 
son,  it  might  be  different.  There  might  be  some 
thing  in  what  you  say.  But,  thank  God,  he  isn't. 
Mind  you,  I  don't  say  he  wasn't  like  most  of  them 
when  he  was  younger.  I  dare  say  he  was.  I  know 
he  went  to  supper  with  a  chorus  girl  once. 

WILL.     Twice. 

HELEN.     What  was  she  like? 

WILL.     Like  a  chorus  girl. 


io  THE  THIRTEENTH  CHAIR 

MRS.  CROSBY.  The  trouble  with  you,  my  dear,  is 
that  you've  been  reading  novels.  When  Billy's 
father  married  me,  I  was  a  school  teacher,  and  he 
was  a  clerk.  We  didn't  have  any  money,  but  we 
were  awfully  in  love — we  still  rather  like  each  other. 
Now,  just  for  the  sake  of  argument.  Suppose  we 
should  have  acted  like  stern  parents,  what  would  be 
the  use?  Billy's  in  business  for  himself,  he's  mak 
ing  his  own  money,  he  can  marry  when  he  wants  to 
and  as  he  wants  to,  and  if  you  want  my  real  opinion, 
I  don't  mind  confessing  that  I  think  he's  pretty  lucky 
to  get  you. 

WILL.     There ! 

HELEN.  (In  front  of  table  R.)  But  you  know 
so  little  about  me. 

WILL.     Oh,  rot. 

MRS.  CROSBY.  Thank  you,  Billy,  I  was  trying  to 
think  of  an  effective  word.  (To  WILL.  To  HELEN,) 
You've  been  my  private  secretary  for  over  a  year, 
and  no  matter  how  much  my  looks  belie  it,  I'm  not 
a  bit  of  a  fool.  I  know  a  great  deal  about  you. 

HELEN.     My  family 

WILL,     (c.)    I'm  not  marrying  your  family! 

HELEN.     I'm  afraid  you  are. 

WILL.    Oh! 

HELEN.     There's  only  mother. 

MRS.  CROSBY.  (Contritely,  rises  to  HELEN  in 
front  of  table  R.)  Oh,  my  dear,  forgive  me.  Your 
mother  should  have  been  here  to-inght. 

HELEN.  No,  my  mother — Mrs.  Crosby — mother 
doesn't  go  out — she'd  be  unhappy  here,  and  you'd  be 
uncomfortable  if  she  came.  You'll  find  her  trying 
sometimes,  you'll  think  she's  common.  Oh,  don't 
misunderstand  me.  She's  the  most  wonderful 
mother  in  the  world.  And  she's 

MRS.  CROSBY.  Suppose,  my  dear,  that  we  take 

your  mother  for  granted (Cross  between  WILL 

and  HELEN,)  Take  us  as  you  find  us  and  we  will 


THE  THIRTEENTH  CHAIR  n 

try  to  be  happy.  (Enter  CROSBY  from  door  L.  He 
is  a  fine-looking  man  of  about  sixty,  with  a  pleasant 
personality,  a  good  deal  of  charm  and  that  masterful 
self-possession  which  sometimes  marks  the  man  of 
affairs.  It  is  always  evident  that  the  most  delight 
ful  intimacy  exists  between  himself  and  his  wife) 
Well,  Roscoe? 

CROSBY.  (Cross  to  L.C. — takes  HELEN,  who 
crosses  to  CROSBY,  in  his  arms)  Welcome,  my  dear. 

HELEN.     Oh,  Mr.  Crosby— I 

CROSBY.  (Placing  HELEN  L.  of  him  with  arms 
still  around  her — reaching  his  other  hand  to  WILL,) 
Bill,  shake !  (Father  and  son  shake  hands.  CROSBY 
looks  at  his  wife  and  they  laugh  gently)  Shall  I 
tell  'em? 

MRS.  CROSBY.  (Standing  in  front  of  table  over 
Rj  I  would. 

WILL.     (R.C.;    Tell  us  what? 

CROSBY,  (c.)  You  did  this  just  in  time.  To 
morrow  I  was  going-  to  forbid  you  to  have  anything 
more  to  do  with  this  young  woman. 

HELEN.     (~L.  of  CROSBY)    You  see! 

WILL.     What  for? 

CROSBY.  Your  mother  and  I  felt  that  you  were 
pretty  slow  with  your  love-making. 

WILL.     Oh,  Mother! 

CROSBY.  (Continuing)  And  I  know  darned  well 
that  if  I  interfered,  you'd  take  the  girl  out  and 
marry  her. 

HELEN.     Oh ! 

WILL.     You  old  schemer. 

CROSBY.  (Crossing  over  R.C.  below  MRS.  CROSBY,) 
I  bet  it  would  have  worked. 

WILL.  (As  CROSBY  crosses  right,  WILL  slaps 
him  on  the  back)  It  would.  (Cross  back  of  HELEN 
to  L.cJ 

(Door  down  L.  opens  and  EDWARD  WALES  enters.) 


12  THE  THIRTEENTH  CHAIR 

WALES.  I  came  ahead  of  the  others  to  tell 
you 

CROSBY.  Why,  Ned,  old  man,  you  came  just  in 
time  to  congratulate  them.  (He  points  toward  WILL 
and  HELEN.J 

WALES.     On  what?    (L.C.) 

MRS.  CROSBY.  They're  going  to  be  married ;  isn't 
it  fine  ? 

WALES.     Oh!     (There  is  a  long  pause.) 

WILL.     You  haven't  congratulated  us,  Mr.  WTales. 

WALES.  No,  Will,  I  haven't.  I'm  not  sure  that 
I  can.  (Down  stage  a  step.) 

CROSBY.     Why,  Ned! 

WILL.  I'm  afraid  that  calls  for  an  explanation, 
sir. 

WALES.  Yes,  I  expect  that  it  does.  (There  is  a 
long  pause.) 

WILL.     Well? 

WALES.  I'm  sorry,  but  I  can't  explain  anything 
until  to-morrow. 

MRS.  CROSBY.  But  really,  Mr.  Wales,  don't  you 
think 

WALES.  I  think  my  action  is  almost  indefen 
sible.  I'm  admitting  that.  But  I  have  very  good 
reasons  for  what  I  am  doing.  (He  turns  to  CROSBY  ) 
Roscoe,  I've  been  your  close  friend  for  a  great  many 
years.  You've  trusted  me,  believed  in  me.  I'm  going 
to  ask  you  to  wait.  After  all,  twenty-four  hours 
can't  make  any  difference,  and  it  may  save  you  all 
a  great  deal  of  unhappiness. 

WILL.  (Coming  to  WALES  a  step)  Why,  this  is 
intolerable. 

CROSBY.     Ned,  I  can't  understand 

WILL.     Father,  this  is  my  affair. 

WALES.     I'm  sorry. 

WILL.     Sorry?    I  should  think  you  would  be. 

HELEN.     Billy,  I  told  you  what  would  happen. 


THE  THIRTEENTH  CHAIR  13 

Mr.  Wales,  I  don't  know  what  you  have  discovered, 
but  it's  nothing  of  which  I  am  ashamed,  nothing. 

WILL.     Dear,  you  mustn't  mind  what  he  says. 

HELEN.  (In  front  of  WILL — crossses  to  WALES 
a  few  steps)  Oh,  but  I  do,  I  can't  bear  it.  Why, 
my  mother  is  the  most  wonderful  woman  in  the 
world.  I  won't  have  her  attacked.  Do  you  know 
what  she  did?  When  I  was  ten  years  old  she  sent 
me  away  from  her.  I  was  the  one  thing  she  had  in 
the  world  to  love  and  she  gave  me  up  because  she 
thought — because  she  thought  it  was  the  best  thing 
she  could  do  for  me.  I  was  sent  to  a  fine  school, 
then  to  college,  and  then  when  I  was  nineteen,  quite 
by  accident  I  found  out  that  she  wasn't  dead,  as 
they'd  always  told  me,  and  when  I  went  to  her  all 
she  said  was,  "Well,  my  dear,  I  wanted  to  make  a 
lady  of  you."  (Crosses  to  WILL — c. — He  takes  her 
in  his  arms,  then  HELEN  crosses  to  R.  of  him.) 

MRS.  CROSBY.  (In  front  of  table  R.)  I  think  she 
succeeded,  my  child. 

WALES.  (L.C.)  Miss  O'Neill,  I  didn't  even  know 
that  you  had  a  mother. 

WILL,  (c.)  Then  you'd  better  tell  us  now  what 
ever  your  objection  is. 

WALES.  I  can  tell  you  nothing  until  to-morrow. 
(He  turns  to  WILL)  Billy,  I'd  rather  be  shot  than 
do  what  I'm  doing.  If  I'm  wrong  I'll  come  to  you 
gladly  and  eat  dirt.  I'll  beg  this  young  lady's  par 
don  on  my  knees  if  she  likes.  (Voices  and  laughter 
heard  down  L.)  Now  that's  all  I'm  going  to  say 
about  it  until  then.  (Crosses  up  L.) 

(The  door  at  L.  opens. — EASTWOOD,  HELEN  TRENT, 
Miss  ERSKINE,  Miss  STANDISH,  STANDISH, 
MASON,  enter  laughing  and  talking.) 

EASTWOOD.  (At  L.C.  To  crowd  in  doorway) 
And  he  said  whose  wife?  (Air laugh.) 


14  THE  THIRTEENTH  CHAIR 

WILL.  (c. — HELEN  in  front  of  table  R.)  Quiet, 
quiet,  everybody,  I've  got  a  surprise  for  you.  (Peo 
ple  at  door  ad  lib.  laugh  and  buzz)  Nellie  and  I  are 
going  to  be  married. 

(GiRLS  rush  up  c.  and  congratulate  HELEN — MEN 
and  WILL  go  to  L.C.  ad  lib.,  business  congratu 
lating  him.) 

Miss  EASTWOOD.  (Coming  to  WILL,  c.)  If  you 
hadn't  been  engaged  to  her,  she  could  have  you  ar 
rested  for  the  way  you  made  eyes  at  her  at  dinner, 
Billy.  But,  of  course,  if  people  will  marry — 

why (She  turns  away  R.  from  them)  I  hope 

you  will  be  awfully  happy.  (Crosses  to  MR.  and 
MRS.  CROSBY  down  Rj 

Miss  ERSKINE.  (Coming  to  WILL,)  Isn't  it  beau 
tiful?  (Crosses  to  L. — to  settee.) 

MRS.  TRENT.  (Crosses  to  WILL,  kissing  him) 
I'm  glad,  Billy,  glad.  (Cross  to  STANDISH,  come 
down  L. — and  TRENT  over  L. — Miss  STANDISH 
cross  to  front  of  table  R.  WILL  and  HELEN  look 
around — see  that  no  one  is  paying  attention  to  them 
— WILL  sneaks  up  to  door  R.C. — opens  it — he  and 
HELEN  exit  door  R.C.  quickly.  MRS.  CROSBY,  MR. 
CROSBY,  EASTWOOD,  in  front  of  table  over  R.  TRENT, 
STANDISH,  MRS.  TRENT,  MASON  talking  together 
over  L.  WALES  up  L.  Ad  lib  conversation  until 
Miss  EASTWOOD  speaks.) 

Miss  EASTWOOD.  (To  MRS.  CROSBY,)  Marriage  is 
such  an  awful  gamble.  I  know  a  girl  who  tried  it 

four  times.  Billy,  I  hope  you (Turning  to  c.) 

Why,  they  are  gone. 

(Ad  lib  laughter  of  buzz  and  conversation.  Miss 
EASTWOOD  runs  up  to  door  R.C.,  opens  it — looks 
in  dining-room — gives  a  scream — closes  door 
quickly,  comes  down  to  R.  end  of  settee.  TRENT, 


THE  THIRTEENTH  CHAIR  15 

to  console  table  L.  of  settee,  gets  cigarette,  lights 
it.  Crosses  to  c.  back  of  settee  in  front  of  fire 
place.  STANDISH  and  MRS.  TRENT  to  table  L. 
of  settee.  WALES  and  ERSKINE  sit  on  settee 
facing  audience  up  c.  MRS.  CROSBY — at  upper 
end  of  table  R.  CROSBY  seated  R.  end  of  settee, 
facing  audience  up  c. — MASON  L.  end  of  settee, 
faces  audience  c.  Enter  BUTLER  from  down  L.) 

BUTLER.  Mrs.  Crosby,  the  person  you  sent  the 
car  for  has  arrived. 

( ALL  turn  eagerly  toivard  the  door  ~L.) 

WALES  (Rises — goes  to  front  of  armchair  L.cJ 
Can  we  see  her  now,  Mrs.  Crosby  ? 

MRS.  CROSBY.  Certainly — Pollock,  ask  Madame 
La  Grange  if  she  will  come  in,  please. 

BUTLER.  Yes,  Madame.  (He  exits  and  closes 
the  door  after  him.) 

Miss  EASTWOOD.  (Coming  between  table  and 
settee  R.c.J  I'm  perfectly  thrilled.  Do  you  suppose 
she  expects  to  be  taken  seriously? 

Miss  ERSKINE.     Of  course. 

Miss  EASTWOOD.  (At  table  R.)  How  funny!  If 
you  don't  laugh  at  her,  we  can  have  no  end  of  fun. 
I'll  guy  her  terribly  and  she'll  never  know  it  in  the 
world. 

MRS.  CROSBY.  (At  table  R.J  Oh,  I  wouldn't  do 
that,  Mary.  She  may  be  quite  in  earnest. 

Miss  EASTWOOD.  Oh,  I  can't  believe  that. 
Madame  La  Grange !  I  can  see  her  now.  Tall,  black- 
haired  creature,  regular  adventuress,  see  if  she  isn't. 
Isn't  she,  Mr.  Wales? 

WALES.  (In  front  of  settee)  She's  the  most  re 
markable  woman  I  have  ever  known. 

(Enter  BUTLER  from  door  LV  coming  well  on  stage.) 


16  THE  THIRTEENTH  CHAIR 

BUTLER.     Madame  La  Grange. 

(Enter  MADAME  ROSALIE  LA  GRANGE.  She  is  a  lit 
tle  Irish  woman  of  about  fifty,  but  old  for  her 
age.  She  is  dressed  quaintly.  As  she  comes 
well  on  stage  she  stands  and  drops  a  little  curt 
sey.) 

ROSALIE.     Good  evenin',  all  av  yes. 
fMEN  all  rise.) 

MRS.  CROSBY.  How  do  you  do,  Madame  La 
Grange  ? 

ROSALIE.     I'm  well,  thank  ye,  ma'am. 

MRS.  CROSBY.     Won't  you  come  in  ? 

ROSALIE.  I  will,  ma'am.  (She  sees  WALES  L.C. 
and  goes  to  him)  Good  evenin'  to  ye,  Misther 
Wales.  Sure  it  was  a  grand  hack  ye  sent  for  me. 

WALES.     We  all  wanted  you  to  be  comfortable. 

ROSALIE.  Sure,  an'  I  was.  (She  laughs  and  turns 
to  MRS.  CROSBY  R.cJ  Do  ye  know,  ma'am,  when 
the  gintleman  in  uniform  come  for  me,  I  thought 
at  first  it  was  th'  police. 

MRS.  CROSBY.     I  hope  you  weren't  frightened. 

ROSALIE,  (c.  CROSBY  R.  end  of  settee  c. — MRS. 
TRENT  and  STANDISH  move  down  L.,  TRENT  comes 
to  L.  of  armchair — ERSKINE  seated  on  settee  up  c. — 
MRS.  CROSBY  at  table  R.  WALES  L.C.,  TRENT  and 
MASON  L.C.)  Divil  a  bit.  Sure  I'd  like  to  see  the 
cop  that  could  frighten  me.  They're  nice  boys,  thim 
cops,  and  most  of  thim  good  Catholics. 

Miss  EASTWOOD.  (To  R.  side  of  ROSALIE,)  Mr. 
Wales  tells  us  you  are  wonderful. 

ROSALIE.     I  am  that.    Anny  woman,  is. 

Miss  EASTWOOD.  (With  a  meaning  glance  at  the 
others)  So  you  tell  fortunes? 

ROSALIE.     No,  miss,  I  do  not.     I  get  messages 


THE  THIRTEENTH  CHAIR  17 

from  thim  that  have  passed  on.  I  don't  hold  at  all 
wid  the  cards  nor  tea  leaves  nor  any  of  thim  tricks. 
( ALL  laugh — EASTWOOD  loudest)  Wance  in  a  while 
I  give  advice.  (She  turns  to  Miss  EASTWOOD,)  If 
I  was  you,  Miss,  I  wouldn't  meet  Jimmy  at  the  Ritz 
at  three  to-morrow.  ("ALL  laugh.  Miss  STANDISH 
crosses  to  settee  c.  Sits.  Miss  ERSKINE  rises, 
crosses  to  table  R. — and  sits  in  armchair.  MASON 
crosses — sits  on  up  stage  settee — TRENT  to  L.  end 
of  settee — Miss  EASTWOOD  in  front  of  table  R. 
ROSALIE  goes  to  WALES  L.C.,  CROSBY  seats  MRS. 
CROSBY  down  stage  end  of  table  R.,  then  crosses 
back  of  ERSKINE  to  upper  end  of  table)  Well,  sor, 
and  how  are  ye? 

WALES.  We're  expecting  great  things  from  you 
to-night,  Madame  La  Grange. 

ROSALIE.  Are  ye  now?  Well,  I  hope  ye  won't 
be  disappointed. 

CROSBY.  (Above  table  RV  coming  c.  a  step)  I 
suppose  there  are  a  lot  of  tricks  that 

ROSALIE.  (Interrupting  him)  You  said  it,  sor. 
But  I  suppose  mine  is  the  only  trade  in  the  world 
there's  anny  tricks  in. 

Miss  EASTWOOD.  (Coming  to  ROSALIE,  who  is 
c.)  Why  shouldn't  I  meet  Jimmy  at  the  Ritz  to 
morrow  ? 

ROSALIE.  If  you  do,  sure,  something  awful  is 
liable  to  happen  to  him. 

Miss  EASTWOOD.    What? 

ROSALIE.  Sure  if  you  keep  meeting  the  man  he 
is  liable  to  marry  ye.  (^EASTWOOD  up  stage  a  step.) 

CROSBY.  (Upper  end  of  table  Rj  Would  you 
mind  telling  me  how  you  know  this  young  lady  was 
going  to  meet  Jimmy  at  the  Ritz  to-morrow  after 
noon? 

ROSALIE.  I  would  not.  Sure  she  left  his  letter 
in  her  bag  in  the  hall,  and  while  I  was  waitin'  I 
read  it. 


18  THE  THIRTEENTH  CHAIR 

Miss  EASTWOOD.  How  did  you  know  it  was  my 
bag?  (c.) 

ROSALIE.  Sure,  the  stuff  on  the  bag  matches  the 
stuff  on  your  dress. 

MRS.  CROSBY.  (Seated  below  table  Rj  Then  it 
is  all  trickery  ? 

ROSALIE.  It  is,  ma'am,  and  it  ain't.  I  tell  ye, 
ma'am,  most  of  the  time  it's  tricks,  with  even  the 
best  of  us.  But  there's  been  times  in  my  life  when 
— well,  ma'am,  thim  times  it  wasn't  tricks.  There's 
been  things  I  couldn't  understand  myself,  messages 
from  thim  that's  passed  on.  There  is  a  power — a 
wonderful — power — that  comes  to  us.  But  the  divil 
of  it  is  ye  never  can  tell  when  it's  comin'.  Sure,  if 
ye  waited  for  it  ye'd  starve  to  death.  So  when  it 
ain't  there  we  use  tricks. 

MRS.  CROSBY.  (Seated  at  lower  end  of  table  at 
Rj  I  think  I  understand. 

ROSALIE.  Do  ye  know,  ma'am?  Well,  do  you 
know,  maybe  I  thought  ye  would.  (Puts  hand  bag 
on  table  Rj 

("MRS.  TRENT  seated  below  door  down  L.  WALES 
crosses  down  L.  and  joins  MRS.  TRENT  at  door 
L.  CROSBY  above  table  R.cJ 

Miss  EASTWOOD.  (Coming  down  to  R.cJ  Don't 
you  think  all  this  is  dishonest  ? 

ROSALIE.  (In  front  of  table  R.  Turning  to  her) 
What's  dishonest? 

Miss  EASTWOOD.  Tricking  a  lot  of  poor,  ignorant 
people. 

^MASON  back  of  settee  c.) 

ROSALIE.  It's  all  in  the  way  ye  look  at  it.  A 
widdy  woman  came  to  me  this  mornin'  wid  a  break 
ing  heart  for  the  man  that  was  gone.  I  went  into 


THE  THIRTEENTH  CHAIR  19 

trance  and  Laughing  Eyes,  me  spirit  control,  came 
with  a  message  from  him.  Sure,  she  said  he  was  in 
Heaven  wid  the  angels,  and  there  was  no  cold  nor 
hunger;  and  the  streets  was  paved  with  gold,  and 
there  was  music  and  happiness  everywhere.  She 
told  her  he  was  thinkin'  of  her  every  day  and  every 
hour  and  watchin'  and  waitin'  fer  the  day  she'd 
come  to  him.  Sure,  wasn't  that  worth  fifty  cents 
of  any  woman's  money?  The  man  may  have  been 
in  hell  for  all  I  know. 

TRENT.  (By  armchair  L.C.)  What  I  can't  under 
stand  is  why  you  are  telling  us  all  this. 

(Miss  EASTWOOD  to  settee  c.    ROSALIE  to  armchair 

L.C.J 

MRS.  TRENT.     (Seated  over  L.  by  door)     If  we 

know  you  are  fooling 

ROSALIE.     Didn't  Mr.  Wales  tell  ye  ? 
WALES.     (L.C.)    I've  told  them  nothing. 

(MASON  drops  down  R.  of  settee.    STANDISH  down 
L. — CROSBY  is  R.  end  of  settee  c.) 

ROSALIE,  (c.)  Wrell,  tell  thim  now,  plaze  sur. 
(Sits  upper  end  of  table — takes  off  gloves,  takes  out 
glasses  from  bag.) 

WALES.  (Down  Lj  As  I  told  you  some  time 
ago,  Madame  La  Grange  has  done  a  lot  of  things 
that  we  can't  explain. — When  I  asked  her  to  come 
here  to-night,  she  said  she  would  under  certain  con 
ditions. 

MASON.  (Between  settee  and  table)  You  mean 
test  conditions? 

WALES.  Not  exactly.  What  she  said  was  that 
no  money  should  pass  between  us,  and  that  what 
ever  she  did,  she  would  be  honest. 

MASON.  (Very  eagerly)  You  mean  that  you 
won't  play  any  tricks? 


20  THE  THIRTEENTH  CHAIR 

ROSALIE.  (Whisper.  MASON  comes  to  her,  upper 
end  of  table  K.)  Av  I  do  I'll  tell  ye. 

Miss  EASTWOOD.  (Seated  on  settee  c.)  Of 
course  we  understand  all  about  spirit  rappings. 

ROSALIE.     Do  ye  now? 

STANDISH.     (Down  L.J    Well,  rather. 

ROSALIE.  (^CROSBY  sits  R.  end  of  settee)  Well, 
well,  what  do  ye  think  av  that  ? 

Miss  EASTWOOD.  You  have  to  be  near  a  table 
or  something  like  that  and 

ROSALIE.     Maybe  a  chair  or  a  desk  would  do? 

Miss  EASTWOOD.     And  then  in  the  dark 

ROSALIE.  Av  course  in  the  dark.  And  ye  got 
wan  rap  for  yes  and  two  for  no.  (There  is  a  short 
pause.  ROSALIE  comes  down  c. — stands  and  says) 
Are  those  spirits  near?  ('ALL  laugh.) 

STANDISH.     Oh,  no,  don't. 

ONE  RAP 

(One  rap  is  heard — from  back  of  fireplace.     Little 
laugh.) 

Miss  EASTWOOD.     But (Rises,  comes  down 

L.C.  a  step.) 

MASON.  Oh,  please  keep  still—  ("ALL  gather 
a  little  closer  around  ROSALIE.  ) 

ROSALIE.     Is  it  Laughing  Eyes  ? 
(One  rap  is  heard— still  louder)  ONE  RAP 

And  ye  can't  talk  to  me  in  the  light? 
( One  rap)  ONE  RAP 

Are  ye  happy?    (MRS.  TRENT  rises) 
(Two  raps  again)  TWO  RAPS 

Is  there  someone  here  ye  don't  like? 
(One  rap)  ONE  RAP 

A  gentleman? 

(Two  raps)  TWO  RAPS 

Dear,  dear,  a  lady. 
(One  rap)  ONE  RAP 


THE  THIRTEENTH  CHAIR  21 

(She  points  to  Miss  EASTWOODJ  Is  it  that  one? 
(One  rap)  ONE  RAP 

Laughing  Eyes  don't  like  you.  (General  laugh.) 

MASON.  (R.C.)  That's  the  most  wonderful 
thing  I  ever  heard. 

STANDISH.     (Down  L.)    Oh,  I  don't  think 

MASON.  It  couldn't  be  a  trick.  She  just  stood 
there.  I  watched  her  hands  every  minute. 

ROSALIE.  Sure,  ye  watched  the  wrong  end  of  me. 
I  have  a  wooden  sole  in  me  shoe.  (She  lifts  her 
skirt  and  shows  that  she  has  taken  one  foot  from 
her  slipper)  Ye  do  it  with  yer  foot.  Like  this. 
( TRENT  goes  up  to  armchair  L.C.  Laughingly) 
Sure,  it's  a  trick. 

(Miss  EASTWOOD  goes  to  WALES  L.C.  MRS.  TRENT 
crosses  up  to  armchair  L.C.  STANDISH  crosses 
up  to  L.  end  of  settee,  CROSBY  c.  MRS.  CROSBY 
seated  at  table  R.  STANDISH  crosses  back  of 
settee  to  R.C .) 

MASON.  Then  if  we  get  any  messages- 

(R.cJ 

ROSALIE.  If  ye  get  any  messages.  Well,  sur,  I'm 
tellin'  ye  the  truth  now.  Most  of  the  time  it's  fake. 
With  me,  or  that  dago  Palladino,  and  it  was  with 
Slade,  and  all  the  rest  of  the  trance  mediums.  But 
to-night  there'll  be  no  fakin'.  (Rises)  I'm  a 
stranger  to  all  of  yez  except  Mr.  Wales.  I  don't 
know  who  lives  in  this  house,  I  don't  know  the  name- 
of  any  one  of  ye.  Mr.  Wales  told  me  he  wanted  me 
to  come  here,  he  said  he'd  be  sendin'  for  me.  He 
ain't  told  me  one  word  about  any  of  ye.  (Goes  to 
R.  end  of  settee.) 

WALES.     That  is  quite  true.     (Over  L.J 

TRENT.  (By  armchair  L.c.J  You  haven't  given 
her  a  hint  of  any  sort? 

WALES.     (~L.)     On  my  word  of  honor. 


22  THE  THIRTEENTH  CHAIR 

MASON.     (Above  table  R.J     Madam  La  Grange? 

ROSALIE.     Sor  ? 

MASON.  I  know  a  man  who  saw  this  woman 
Palladino  lift  a  table  just  by  putting  her  hands  on 
it. 

^ROSALIE  points  to  a  small  console  table  R.  end  of 
settee — it  has  a  lamp  on  it — EASTWOOD  L.  end 
of  settee.) 

ROSALIE.  (Putting  handbag  on  chair  above  table 
*R.)  Will  some  one  please  take  the  lamp  off  that 
table?  And  will  you  bring  it  here  to  me?  (Miss 
STANDISH  crosses  R.  to  upper  end  of  table  RV  takes 
lamp  and  holds  it.  MASON  brings  console  table  to 
ROSALIE  down  c. — wide  side  to  audience — ROSALIE 
puts  her  hands  on  table  with  her  thumbs  under  its 
edge  and  lifts  the  table  and  turns  R.  and  L.J  You 
mean  like  that? 

MASON.     Yes,  I  suppose  that  was  it. 

ROSALIE.  In  the  dark  ye  wouldn't  hardly  notice 
my  thumbs.  (ALL  laugh.  Miss  ERSKINE  seated 
back  of  table  over  R.J  But  it  can  be  done,  it  can 
be  done.  I  don't  say  I  can  do  it  in  the  light,  but  if 
ye  want  I'll  try. 

ALL.  Oh,  yes,  yes,  of  course,  please  do,  yes, 
yes. 

MASON.     You  mean  without  any  trickery? 

ROSALIE.  (Getting  back  of  console  table.  Turn 
ing  table  around — narrow  side  to  entrance)  I  mean 
like  this.  (She  plaices  the  tips  of  the  fingers  of  both 
hands  on  the  c.  of  the  table  and  stands  rigid  for  a 
few  moments.  No  one  speaks.  ALL  watch  her  with 
breathless  interest.  Slowly  the  table  tips  a  little  to 
one  side,  and  then  tips  in  the  opposite  direction. 
Then  it  slowly  rises  about  a  foot  from  the  floor, 
and  then  drops  suddenly  and  falls  over.  There  is 
a  long  pause.) 


THE  THIRTEENTH  CHAIR  23 

MASON.     (R.  of  small  table)    Good  God. 
WALES.     (L.C.     Quietly)     What  did  I  tell  you? 

(There  is  a  long  pause,  ALL  turn  towards  ROSALIE 
to  see  what  she  will  do  next.  MASON  takes  con 
sole  table  back  to  its  place  R.  end  of  settee. 
TRENT,  MRS.  TRENT,  over  L.  STANDISH  and 
CROSBY  c.J 

ROSALIE,  (c.)  Now  ye  all  know  what  I  can 
do,  but  I  can  trick  ye,  too ;  so  ye'll  have  to  take  my 
word  for  it  that  I  won't.  I'm  not  makin'  you  any 
promises.  I'll  go  into  trance  for  ye,  and  it  will  be 
a  real  trance  and  no  fake.  My  spirit  controls  a 
little  girl  named  Laughing  Eyes. 

CROSBY.  (Coming  c.)  Are  you  asking  us  to  be 
lieve  that  the  spirit  of  a  dead  child 

ROSALIE,  (c.)  To  them  that  believes  there  is 
no  death.  Glory  be  to  God,  your  own  religion 
teaches  ye  that. 

CROSBY.  But  not  that  the  spirits  of  the  dead  can 
come  back  to  earth. 

ROSALIE.  (Goes  to  chair  upper  end  of  table — 
CROSBY  crosses  to  end  of  settee)  Man,  go  read  your 
Bible.  ( STANDISH  crosses  to  back  of  table  Rj  Sure, 
I'm  not  going  to  argue  with  any  of  you.  I  didn't 
come  here  for  argument.  Most  of  you  don't  believe, 
you're  all  of  little  faith ;  sure,  it's  hard  to  get  mes 
sages  then.  Perhaps  I'd  better  go  about  me  busi 
ness?  (Crosses  to  L.c.J 

MRS.  CROSBY.     (At  table  R.)    Oh,  no,  please  stay. 

ROSALIE.     Sure,  ma'am,  I'll  be  glad  to. 

( WILL  and  HELEN  enter  R.C.    Cross  down  R.cJ 

TRENT.  (Down  L.  of  armchair)  And  you're 
willing  to  submit  to  our  conditions? 

ROSALIE.     Of  course,  anything  in  reason — I 


24  THE  THIRTEENTH  CHAIR 

HELEN.     Why !     (Coming  down  R.C .) 

(ROSALIE,  at  the  sound  of  a  new  -voice,  turns.  She 
gives  a  little  start,  and  then  moves  quickly  to 
HELEN — c.) 

ROSALIE.  Wait,  something's  coming  to  me. 
Don't  anyone  speak.  (ALL  laugh.  She  goes  close 
to  HELEN  and  looks  at  her — crosses  down  c.)  It's 
a  message — give  me  your  hand,  Miss.  (HELEN,  in 
a  good  deal  of  confusion,  gives  ROSALIE  her  hand. 
ROSALIE  stands  and  holds,  her  eyes  are  closed) 
Lady,  there's  nothin'  but  happiness  comin'  to  you. 
The  spirits  tell  me  you're  the  favorite  child  av  for 
tune.  (WiLL  comes  to  R.c.J  You'll  have  wealth, 
and  prosperity,  and  happiness.  You'll  marry  the 
man  you  love,  and  ye'll  be  happy  all  your  life  long. 
(WALES  goes  up  L.  TRENT  comes  to  ROSALIE  a 
step.  ROSALIE  turns  to  others)  There's  something 
I  got  to  tell  her,  just  fer  herself  it  is.  Sure,  a  young 
girl  like,  it's  her  modesty  I'm  sparin'. 

(MRS.  TRENT  goes  up  L.  TRENT,  EASTWOOD,  and 
WALES  goes  up  L.C.  ROSALIE  brings  HELEN 
down  L.  WILL  joins  CROSBY  and  MRS.  CROSBY 
R. — ERSKINE  and  STANDISH  back  of  table  R.) 

HELEN.     Mother ! 

ROSALIE.  Sure,  darlin',  I  didn't  know,  they  just 
brought  me  here.  Ye  know  I  wouldn't  have  come 
fer  anythin'  in  the  world.  (HELEN  starts  to  break 
away)  Don't  tell  them,  dear,  don't  have  me  shame 
you  before  all  your  fine  friends.  I'll  go  in  a  minute 
— I'll  get  away  the  minute  I  can. 

HELEN.  But,  Mother,  there's  no  shame.  I'm 
proud 

ROSALIE.  Tell  them  afterwards  av  ye  must,  but 
let  me  get  away  first.  (Aloud)  Remember  now, 


THE  THIRTEENTH  CHAIR  25 

Miss,  all  the  love  in  the  world  is  hangin'  over  ye, 
and  prayin'  for  your  happiness.  Don't  let  it  go. 
(Buzz — ROSALIE  turns  to  WALES  L.  NELLIE  stands 
looking  after  her.  WILL  comes  to  her  R.c.J 

WILL.     What  did  she  tell  you? 

HELEN.  You  heard  most  of  it.  I'll  tell  you  the 
rest  later.  fWiLL  and  HELEN  go  up  R.cJ 

ROSALIE.     I'm  afraid  I'd  better  go. 

(EASTWOOD  and  TRENT  come  down  i*.) 

WALES.  (To  the  others)  What  do  you  think? 
Madame  La  Grange  wants  to  call  off  the  seance. 

Miss  EASTWOOD.  (Down  L.J  I  thought  she 
might. 

ROSALIE.     (MASON  above  table  R.)    Did  ye,  now? 

MRS.  CROSBY.     Oh,  won't  you  please  stay? 

/WILL  and  HELEN  R.C.     Miss  ERSKINE  above 
table  Rj 

ROSALIE.  (Comes  c.)  I'm  afraid  I  can't,  ma'am. 
I'm  not  feeling  right,  I  ain't  just  meself. 

WALES.  (L.C.J  Really,  Madame  La  Grange.  I'm 
afraid  under  the  circumstances. 

ROSALIE.  (Getting  handbag  from  chair)  I'm 
sorry  but  I  got  to  go. 

Miss  EASTWOOD.  (Down  L.  of  ROSALIE,)  I  think 
it's  a  shame  to  bother  her.  And  I  think  she's  quite 
right  to  go.  Her  sort  of  tricks  aren't  for  people  of 
intelligence. 

HELEN.  Oh,  won't  you  please  stay?  (To  ROSA 
LIE  cj 

ROSALIE.     I  mustn't. 

HELEN.     Won't  you  as  a  great  favor  to  me? 

ROSALIE.  Well,  Miss,  since  you  ask  it.  I  will 
stay. 


26  THE  THIRTEENTH  CHAIR 

(Miss  EASTWOOD  laughs.  She  and  TRENT  go  up  L. 
CROSBY  by  settee  c.  MASON  below  table  R. 
MRS.  CROSBY  seated  lower  end  of  table.  MRS. 
TRENT  comes  down  to  armchair  L.C.,  sits.) 

MRS.  CROSBY.  I'm  very  glad.  Really,  I'm  greatly 
interested. 

ROSALIE.     (Crosses  Rj    Are  ye  now,  ma'am? 

CROSBY.  (To  c.)  I  think  after  what  we've  seen, 
that  we  must  ask  Madame  La  Grange  to  submit  to 
certain  conditions. 

ROSALIE.     Anythin'  at  all,  sur,  anythin'  at  all. 

MASON.  (Down  R.)  I  agree  with  you.  Frankly 
this  woman  impresses  me.  I  think  this  test  should 
be  taken  seriously. 

(EASTWOOD  laughs.     Crosses  to  L.  end  of  settee.) 

WALES.     (L.C.)     Just  what  I  was  going  to  say. 

CROSBY.  (R.cJ  If  you  will  submit  to  the  condi 
tions  we  impose,  Madame  La  Grange,  and  then  show 
us  any  manifestations,  I  will  never  scoff  at  anything 
again. 

ROSALIE.  Sure,  our  scoffin's  the  easiest  thing 
any  one  can  do.  (CROSBY  crosses  down  R.  below 
table)  If  I  could  stop  that  even  in  one  person,  it 
would  be  a  good  job.  What  is  it  you  want? 

CROSBY.     I  want  the  window  fastened. 

MASON.     That's  the  idea. 

CROSBY.  (Coming  in  front  of  table  Rj  Then 
we  will  have  the  doors  locked.  Will  that  be  all 
right? 

ROSALIE.     It  will. 

Miss  EASTWOOD.  (Coming  down  L.C.)  At  the 
risk  of  seeming  unnecessarily  skeptical,  I'm  going 
to  suggest  that  we  search  Madame  La  Grange — that 
is,  of  course,  if  she's  willing. 


THE  THIRTEENTH  CHAIR  27 

(Miss  ERSKINE  and  Miss  STANDISH  back  of 
table  Rj 

ROSALIE,  (c.)  Why  not?  There's  no  holes  in 
my  stockings.  (ALL  laugh.) 

MASON.  (Down  R.)  I  suppose  it's  going  to  be 
difficult  for  you  to  get  results  if  we  are  all  so  an 
tagonistic,  Madame  La  Grange. 

( Miss  EASTWOOD  goes  up  L.C.) 

ROSALIE.  Well,  sur,  it's  up  to  them.  If  there's 
any  who  wants  to  communicate  with  any  here,  maybe 
they  can  reach  us.  I  don't  know.  I  don't  under 
stand  ye.  Sure,  I  showed  ye  all  the  tricks ;  would 
I  have  done  that,  if  I  wanted  to  fool  ye?  I  would 
not.  Then  why  won't  ye  give  me  credit  for  bein' 
honest  ? 

WALES.  (Down  L.  Ad  lib  buzz)  I'm  sure 
Madame  La  Grange  is  perfectly  honest.  We've  made 
certain  stipulations  to  which  she  has  agreed.  I 
think  we've  discussed  matters  enough  already. 
We're  ready  if  you  are,  Madame  La  Grange. 

ROSALIE.     I'm  ready. 

( CROSBY  looks  at  window  fastenings.) 

MRS.  CROSBY.  (Seated  at  table  over  R.J  Do  you 
know,  I  don't  believe  it  will  be  necessary  to  subject 
Madame  La  Grange  to  being  searched.  I'm  quite 
sure  we  can  spare  her  that  indignity. 

ROSALIE.  Sure,  I  don't  mind  if  you  fine  ladies 
won't  be  shocked  at  seeing  plain,  hand-sewed  under 
wear. 

(WALES  up  L.   Ad  lib  laugh.    ERSKINE  joining  WILL 
and  HELEN,  R.cJ 


28  THE  THIRTEENTH  CHAIR 

MRS.  CROSBY.  (Xing  to  L.  of  ROSALIE  c.)  Come 
with  me  then,  please.  I'm  sure  we  won't  be  shocked. 
(Aside  to  ROSALIE )  I  wear  that  kind  myself. 

ROSALIE.  Do  ye  now,  ma'am?  (They  go  to  door 
at  L.J 

MRS.  CROSBY.     (At  door  Lj    We  sha'n't  be  long. 

ROSALIE.  (At  door  Lj  Ma'am,  would  ye  mind 
if  all  the  ladies  came?  Then  they'll  all  be  sure  I 
ain't  concealing  nothing. 

(The  LADIES  all  talk  together  and  exit  LV  -following 
MRS.  CROSBY.  WALES  closes  door  down  L. 
CROSBY  comes  to  back  of  table  Rj 

WILL.  (By  table  R.J  Do  you  really  want  that 
window  fastened? 

fSTANDiSH  back  of  chair  below  table  R.J 

WALES.  (L.C.  CROSBY  and  TRENT  sit  on  settee 
corner)  I  don't  care. 

MASON.  (At  table  ~R.)  I'd  like  to  make  the  test 
that  way.  I've  a  queer  feeling  about  that  woman. 
I  believe  she  really  has  power  of  some  sort.  I  know 
it  seems  funny,  but — well,  you  all  saw  her  lift  that 
table.  I  watched  her  carefully.  There  was  no  trick 
about  it  at  all.  I'm  sure  of  it. 

CROSBY.  All  right,  then.  You  fasten  the  win 
dow.  Billy,  you  and  Brad  go  and  get  some  chairs 
out  of  the  dining-room,  we'll  need  a  lot.  ("WALES 
walks  up  and  down  L.  stage.  WILL  and  TRENT  exit 
door  R.cJ  You  put  them  in  a  circle,  don't  you? 
(Begins  to  place  chairs  that  are  already  in  the  room 
in  a  circle  c. — armchair  first  L.  of  fireplace)  What 
are  you  going  to  do,  Wales?  Ask  her  a  lot  of  ques 
tions  ? 

WALES.  (Over  L.)  I'm  going  to  try  to  find  out 
who  killed  Spencer  Lee. 


THE  THIRTEENTH  CHAIR  29 

CROSBY.     Still  harping  on  the  murder  of  Spen 
cer  Lee? 


places  chairs  above  and  below  table  in 
circle,  then  chair  R.  side  of  fireplace  in  circle.) 

WALES.     Yes. 

MASON.     (Over  RV  opening  window  curtains  and 
raising  windowshade)     Who  was  Spencer  Lee? 
WALES.     The  best  friend  I  ever  had. 

(TRENT  and  WILL  enter  door  R.CV  each  carrying 
two  chairs,  bring  them  down  R.c.  and  exit  R.cJ 

STANDISH.  (Placing  chairs  c.  with  backs  to  audi 
ence)  We  all  knew  Lee  pretty  well.  And  I  know 
he  was  no  good. 

WALES.  (Crosses  to  L.C.  outside  of  circle)  You 
can't  talk  that  way  about  him,  Standish  ! 

CROSBY.  (In  circle,  comes  down  c.)  The  man's 
dead,  why  not  let  him  rest  in  peace. 

('STANDISH  outside  of  circle,  L.C.  seat.) 

STANDISH.  I  didn't  bring  up  the  matter,  you 
know,  and  I  don't  want  to  hurt  Ned's  feelings,  but 
I  know  that  the  police  found  a  lot  of  compromising 
letters  and  rotten  things  of  that  sort. 

(  WILL  and  TRENT  re-enter  from  R.C.  WILL  crosses 
and  places  two  chairs  R.  side  of  circle  —  closes 
door.) 

WALES.  (L.C.)  I  don't  care  what  they  found,  or 
what  anyone  thinks  of  Lee,  he  was  my  best  friend 
and  if  I  can  find  out  who  killed  him  I'm  going  to  do 
it.  It  was  a  damned  brutal  murder,  stabbed  in  the 


30  THE  THIRTEENTH  CHAIR 

back,  poor  chap,  with  never  a  chance  to  fight  for  his 
life.  (Crosses  over  L.) 

MASON.  (By  table  R.)  I  don't  seem  to  remem 
ber  anything  about  the  case. 

WALES.  It  happened  before  you  got  back  from 
France — no,  by  Jove,  it  didn't  either.  It  was  a  day 
or  two  after.  I  remember  you  and  I  had  lunch  to 
gether  the  day  you  got  home,  and  I  had  dinner  that 
night  with  Spencer.  Funny  you  don't  remember 
anything  about  it. 

fWiLL  sitting  R.  in  circle.) 

MASON.  Well,  of  course,  I  must  have  seen  it  in 
the  papers,  but  I  don't  go  in  much  for  crimes,  and 
not  knowing  the  man  I  wasn't  interested. 

STANDISH.  (Sitting  in  circle  L.c.J  It  was  a  good 
deal  of  sensation.  The  man  knew  a  lot  of  nice  peo 
ple.  Came  here  a  good  deal,  didn't  he,  Mr.  Crosby  ? 

CROSBY.  (Sitting  in  circle  up  c.)  At  one  time. 
But  after  Helen  married  he  rather  dropped  out  of 
it.  Fact  is  until  Trent  here  appeared  on  the  scene, 
he  was  always  hanging  around. 

(TRENT  comes  down  and  sits  in  R.  side  of  circle.) 

STANDISH.  Funny  they  never  found  out  who 
killed  him. 

WALES.  (Standing  outside  of  circle,  L.  side) 
They  may  yet.  They  haven't  stopped  trying. 

MASON.  (Seated  on  table  R.)  Oh,  are  the  police 
still  interested? 

WALES.  Yes,  they're  interested.  As  a  matter  of 
fact,  there's  a  reward  of  five  thousand  dollars  for 
the  discovery  of  the  murderers. 

STANDISH.     Are  you  sure  of  that? 

WALES.     I  offered  it. 

TRENT.     You? 


THE  THIRTEENTH  CHAIR  31 

WALES.  Yes.  What  sort  of  a  man  do  you  think 
I  am  ?  Do  you  expect  me  to  sit  still  and  let  the  mur 
derers  of  Spencer  Lee  go  free?  Why,  I'd  known  the 
man  all  his  life.  We  were  the  closest  kind  of 
friends. 

WILL.  But  if  he  was  the  kind  of  a  man  that 
Standish  says 

WALES.  I  don't  give  a  damn  what  he  was.  He 
was  my  friend  and  I'm  never  going  to  rest  till  I 
find  out  who  killed  him. 

TRENT.     But 

WALES.  I  wouldn't  care  so  much  if  they'd  given 
the  poor  devil  half  a  chance  for  his  life,  but  they 
stabbed  him  in  the  back. 

MASON.  Wasn't  there  any  indications (Sit 
ting  on  table  R. ) 

WALES.  (Standing  upper  L.  side — outside  of  cir 
cle)  There  wasn't  a  thing  to  show  who  did  it  or 
how  it  was  done.  A  knife  wound  between  the  shoul 
der  blades  and  no  knife  ever  found.  Nothing  stolen, 
nothing  disturbed.  The  police  have  found  out  that 
a  young  woman  called  to  see  him  that  afternoon, 
two  or  three  hours  before  his  body  was  discovered. 
That's  all  that  we  know. 

TRENT.  (With  a  laugh — still  seated  in  circle) 
And  now  you're  going  to  try  spiritualism  ? 

WALES.  Why  not?  (There  is  a  pause)  Do  any 
of  you  object? 

TRENT.     Certainly  not.     I'm  rather  for  it. 

MASON.  (Rises.  Still  at  L.  table)  You  are  do 
ing  this  seriously?  This  is  not  a  joke? 

WALES.  Quite  seriously.  (There  is  a  pause) 
Well,  why  don't  somebody  laugh? 

CROSBY.  My  dear  fellow,  why  should  anyone 
laugh  ?  This  queer  old  woman  may  have  powers 
of  which  we  know  nothing  at  all.  Personally,  I 
haven't  much  belief  in  that  sort  of  thing,  but  I'm 
not  going  to  laugh  at  it.  (Rises)  Neither  am  I  go- 


32  THE  THIRTEENTH  CHAIR 

ing  to  have  any  trickery,  or  if  there  is  any  I'm  go 
ing  to  expose  it. 

WALES.     (Over  L.)     That's  perfectly  fair. 

CROSBY.  You've  been  at  her  seances  or  whatever 
they  call  them  before? 

WALES.     Yes. 

CROSBY.     In  the  dark? 

WALES.     Invariably. 

CROSBY.  I  may  want  light.  (He  turns  to  his 
son)  Billy,  if  I  call  for  lights  you  give  them  to  me. 
Don't  wait  for  anything,  understand? 

WILL.  Perfectly,  Dad.  (WILL  goes  up  to  small 
table  R.  of  settee.  Brings  table  with  lamp  on  it  down 
to  between  chair  and  his  chair  in  circle.) 

CROSBY.  That's  all  right,  then.  (Still  in  circle. 
Door  opens  at  L. — MRS.  CROSBY  enters,  follozved  by 
MADAME  LA  GRANGE  and  other  ladies.  WALES 
crosses  to  R.C.  outside  circle.  STANDISH  crosses  to 
upper  end  of  table  R.  TRENT  crosses  to  L.  side  of 
circle.) 

MRS.  CROSBY.     I  think  it  wasn't  fair  to  us. 

ROSALIE.     Sure,  ma'am,  I  didn't  mind. 

(MRS.  CROSBY  crosses  back  of  settee  to  up  R.C.) 

Miss  EASTWOOD.  (Coming  down  Lj  I  can  as 
sure  you  there  isn't  anything  up  her  sleeve. 

ROSALIE.  Well,  what  did  you  expect,  burglar's 
tools? 

(EASTWOOD  goes  up  L.  end  of  settee.  HELEN  and 
MRS.  TRENT  up  L.  MRS.  TRENT  closes  door 
down  L.) 

WALES.  (Over  R.)  Madame  La  Grange,  we've 
fastened  the  windows. 

(Miss    STANDISH,    MRS.    TRENT,    HELEN    over   L. 


THE  THIRTEENTH  CHAIR  33 

TRENT,  STANDISH,  ERSKINE  by  console  table  L. 
of  settee.) 

ROSALIE.     Have  ye  now  ? 

CROSBY.  And  now  if  you  don't  mind,  I'm  going 
to  lock  the  doors  and  keep  the  keys  in  my  pocket. 

ROSALIE.  Anything  at  all,  sir.  Sure,  it's  all  one 
to  me.  (Goes  inside  circle  and  sits  down  c.  in  cir- 
cle.) 

MASON.     May  I  see  that  it's  done,  Mr.  Crosby? 

fR.Cj 

CROSBY.  ^L.C.  With  a  laugh)  Can't  you  trust 
me? 

MASON.  It  isn't  that — I — well,  I  just  want  to  be 
sure.  To  see  for  myself. 

CROSBY.  Lock  that  one  yourself,  then.  (Indi 
cating  door  R.C.  CROSBY  goes  to  door  at  L.CV  locks 
it,  takes  out  the  key  and  puts  it  in  his  pocket)  Bet 
ter  try  it,  Mason.  ( MASON  crosses  to  door  L.C.— 
shows  it  is  locked)  Now  we'll  do  this  one.  (He 
starts  to  door  down  L.  Then  stops  suddenly)  No, 
I've  got  a  better  way  than  this.  My  dear,  will  you 
ring  for  Pollock  ? 

MRS.  CROSBY.  (Upper  end  of  table  R.J  What 
are  you  going  to  do  now? 

CROSBY.  Wait  and  see.  (To  ROSALIE )  You 
don't  object  to  this? 

ROSALIE.     I  do  not. 

('BUTLER  enters  from  door  L. — comes  well  on  stage.) 

CROSBY.  Oh,  Pollock,  I  want  you  to  put  these 
keys  in  your  pocket.  (Hands  them  to  him.  POLLOCK 
puts  them  in  his  waistcoat  pocket.  MRS.  TRENT  and 
HELEN  down  L.) 

POLLOCK.     Yes,  sir. 

CROSBY.     (L.C.)     Now  then  I  want  you  to  take 


34  THE  THIRTEENTH  CHAIR 

the  key  out  of  that  door,  and  lock  it  on  the  outside, 
understand  ? 

POLLOCK.     Perfectly,  sir. 

CROSBY.  Then  take  the  key  from  the  lock  and 
put  that  one  in  your  pocket  also,  after  that  you  are 
to  stand  outside  that  door,  and  you  are  not  to  un 
lock  it  until  I  tell  you  to.  Understand  ? 

POLLOCK.  Yes,  sir,  I'm  to  lock  this  door  on  the 
outside,  keep  the  key  in  my  pocket,  and  then  stay 
just  outside,  and  not  open  it  for  anyone  until  you 
tell  me. 

CROSBY.  Exactly.  (Ad  lib.  buss  of  conversation, 
POLLOCK  goes  to  door  L.,  takes  out  key,  exits,  clos 
ing  the  door  after  him.  The  key  is  heard  turning  in 
the  lock)  Now  then,  Mason,  you'd  better  try  that 
door,  too.  fMASON  goes  over  and  tries  the  door  L. 
CROSBY  follows  him.  Speaking  through  the  door  L.) 
Are  you  there,  Pollock? 

POLLOCK.     (Outside)    Yes,  sir! 

CROSBY.     And  the  keys  are  in  your  pocket? 

POLLOCK.     Quite  so,  sir. 

CROSBY.    Now  we're  ready,  Madame  La  Grange. 

ROSALIE.  Then  if  ye'll  all  sit  in  a  circle  and  hold 
hands. 

ERSKINE.  Hold  hands?  I'm  going  to  love  this. 
CALL  laugh.) 

MASON.  (Down  to  chair  L.  of  circle)  How  shall 
we  sit?  I  mean  do  you  want  us  in  any  particular 
order  ? 

ROSALIE.     Any  way  at  all. 

Miss  EASTWOOD.  (L.  to  ERSKINE,  MRS.  TRENT) 
And  he  said  whose  wife. 

WILL.  I'll  sit  here.  (Takes  chair  and  sits  in 
reach  of  lamp  on  table  R.c.) 

ROSALIE.     Any  way  will  do. 

(HELEN  and  MRS.  TRENT  come  down  L.    The  OTH 
ERS  sit  in  a  circle  form  the  following  order. 


THE  THIRTEENTH  CHAIR  35 

ROSALIE,  c. ;  CROSBY  L.  of  ROSALIE;  ERSKINE, 
Miss  STANDISH,  TRENT,  Miss  EASTWOOD,  MA 
SON,  HELEN,  MRS.  TRENT,  STANDISH  and  MRS. 
CROSBY.  This  brings  WALES  sitting  at  c.  with 
his  back  to  the  audience.  ROSALIE  directly  op 
posite  up  stage,  facing  him.  As  they  are  being 
seated  ad  lib.  buzz  of  conversation.) 

Miss  ERSKINE.  I'm  to  sit  next  to  you,  Mr. 
Crosby. 

CROSBY.  I've  always  wanted  to  hold  your  hands, 
my  dear.  (Sitting  in  circle.) 

MRS.  CROSBY.  Don't  trust  him,  Daisy.  (At  R.  of 
circle — sits  in  circle  R.  side.) 

Miss  ERSKINE.  I  won't,  Mrs.  Crosby.  (Sits  in 
circle.) 

Miss  STANDISH.  I'll  chaperone  them.  (Sits  in 
circle  between  TRENT  and  ERSKINE .) 

MASON.  (To  HELENA  Will  you  sit  by  me? 
(They  sit  in  circle.) 

TRENT.  I'll  take  this  place,  then.  (He  sits  in 
circle  L.  side.) 

Miss  EASTWOOD.  (As  she  sits  in  circle)  I'm 
really  getting  quite  a  thrill.  ( ROSALIE  laughs) 
What's  the  joke,  Madame  La  Grange? 

CMRS.  TRENT  crosses  outside  of  circle  to  R.C.  and 
sits  in  circle.) 

ROSALIE.  I  didn't  know  anything  could  thrill 
you. 

Miss  EASTWOOD.  You  don't  like  me,  do  you, 
Madame  la  Grange? 

ROSALIE.     Sure,  Miss,  I'm  crazy  about  you. 

WALES.  (Standing  belozv  circle  R.cJ  I  think 
we're  all  ready.  (The  OTHERS  sit.  WALES  is  about 
to  sit.) 

ERSKINE.     There  are  thirteen  of  us.     Oh,  don't 


36  THE  THIRTEENTH  CHAIR 

sit  there,  Mr.  Wales.     (Counting  hurriedly.     She 
sits  L.  side  of  circle.) 

WALES.  Oh,  I  don't  mind  those  little  supersti 
tions.  (Sits  down  stage  side  of  circle.) 

MRS.  CROSBY.     What  do  we  do  now? 

READY  LIGHTS 

ROSALIE.  I'd  like  for  ye  to  join  hands,  and  then 
sit  quiet.  Don't  try  to  think  of  anything. 

TRENT.  By  Jove,  that'll  be  easy  for  me.  (The 
OTHERS  laugh.) 

WALES.  We  can't  get  any  results  if  you  treat  this 
as  a  joke.  (0\LL  laugh.) 

STANDISH.     Oh,  let's  be  serious. 

Miss  ERSKINE.     Why,  Howard ! 

STANDISH.  Well,  there  might  be  something  in  it. 
Anyhow,  it's  only  fair  to  do  what  Madame  La 
Grange  wants.  I  suppose  you'd  like  the  lights  out  ? 
I've  always  understood  that  was  necessary. 

ROSALIE.     We'll  get  better  results  that  way. 

LIGHTS 

CROSBY.  All  right,  then.  (He  rises — goes  to  door 
L.,  pushes  light  switch  below  door  L.  This  leaves 
only  the  two  table  lamps  R.  and  L.  of  settee  c.  still 
lit.  AH  other  lights  on  scene  out.  Crosses  back  to 
his  chair — turns  out  table  lamp  L.J  Will,  you  turn 
out  that  light  as  soon  as  we  are  ready. 

OUT 

WILL.    Right  you  are,  Dad. 

ROSALIE.  That's  all,  then.  Sure,  you're  not  to 
be  frightened,  if  I  cry  or  moan  when  I  go  into  a 
trance.  I'm  not  in  pain  or  anything  like  that.  I 
don't  even  know  that  I  do  such  things,  but  I've  been 
told  that  it  sometimes  happens.  Me  spirit  control 
is  a  sweet  little  child,  named  Laughing  Eyes.  When 
she  begins  to  talk  ye  can  ask  her  anything  you  want. 
If  she  don't  answer  ye,  she  don't  want  to  talk  to  ye. 
Then  whoever's  speaking  had  better  let  someone  else 


THE  THIRTEENTH  CHAIR  37 

try  it.     That's  all.     (She  settles  back  in  her  chair) 
Now,  thin,  sir,  ye  can  put  out  that  light. 

fWiLL  turns  off  the  light,  and  the  stage  is  in  dark 
ness,  all  but  spots  on  ceiling.  House  lights  are 
all  out,  too.) 

CROSBY.  That  won't  do.  Billy,  pull  down  the 
blind,  that  light  on  the  ceiling  is  too  strong. 

(WILL  turns  on  lights.  Crosses,  pulls  blind  down, 
closes  curtains,  resumes  his  seat  and  puts  light 
out.  ROSALIE  rises,  crosses  back  of  circle  to 
back  of  Miss  EASTWOOD'S  chair.  There  is  a 
pause.  Suddenly  Miss  EASTWOOD  screams 
shrilly.) 

Miss   EASTWOOD.     There's  a  hand  on  my   face, 
there's  a  hand  on  my  face ! 
CROSBY.     Lights,  son ! 

( The  light  on  the  table  goes  up,  showing  WILL  lean 
ing  back  in  his  chair  with  one  hand  on  the 
switch,  the  other  tightly  clasped  in  his  father's 
hand.  ROSALIE  is  seen  standing  back  of  Miss 
EASTWOOD,  with  her  hand  resting  on  Miss  EAST 
WOOD'S  cheek.  All  start  to  speak.) 

MRS.  TRENT.     It's  a  trick. 

ROSALIE.  Sure,  it  is  a  trick.  (They  stop  and 
stare  at  her.  Her  manner  is  commanding,  and  a  lit 
tle  stern)  I  was  going  to  ask  ye  to  tie  me  hands  to 
the  arm  of  the  chair,  but  I  thought  I'd  show  ye  this 
first. 

MASON.     I  don't  see  how  you  did  it — even  now. 

ROSALIE.  (Standing  outside  of  circle  ~L.)  Things 
happen  in  the  dark.  The  sense  of  touch  isn't  much 
developed  except  ye're  blind.  When  this  young  gen- 


3&  THE  THIRTEENTH  CHAIR 

tleman  let  go  my  hand  to  turn  out  the  light,  I  took 
my  other  hand  away  from  Mr.  Crosby  and  when  we 
joined  hands  again  the  two  gentlemen  were  holding 
hands  as  comfortable  as  you  please.  And  I  was 
free.  It's  an  old  trick.  All  the  mediums  use  it. 
Anyone  can  do  it.  (Back  to  her  chair  and  sits) 
Now,  if  someone  will  tie  me  in,  we'll  go  on. 

MASON.  How  do  we  know  that  you  can't  get 
free  even  then  ? 

ROSALIE.     Tie  me  so  I  can't. 

CROSBY.  (Rising)  I'll  see  to  that.  I  want  some 
thing  strong. 

MASON.  Take  handkerchiefs,  they  are  strong 
enough.  (Takes  handkerchief.) 

CROSBY.  They'll  do  very  well.  (Takes  out  his 
own)  I  want  three  more. 

WILL.  Here's  mine.  (Hands  his  handkerchief 
to  his  father.  MASON  and  TRENT  give  CROSBY 
theirs.) 

CROSBY.  Now,  Madame  La  Grange,  if  you  don't 
mind.  (He  goes,  ties  her  hands  to  the  arm  of  the 
chair)  I  don't  see  why  you  did  that  just  now. 

ROSALIE.     I  told  you  I  wanted  to  be  sure. 

CROSBY.     Why? 

ROSALIE.  Because  I  think  something's  going  to 
happen.  I  think  there  will  be  manifestations.  I 
wanted  you  to  know  I  wasn't  faking. 

Miss  EASTWOOD.  Why  should  we  think  that  you 
were? 

ROSALIE.  Sure,  ye  thought  nothing  else  since  I 
came  into  the  room. 

CROSBY.  Mason,  see  if  she  can  get  free  from 
that  now. 

("MASON  comes  over,  inspects  the  knot,  CROSBY  tying 
the  other  hand.) 


THE  THIRTEENTH  CHAIR  39 

MASON.  That  seems  pretty  secure — someone  esle 
look  at  it. 

("WILL  and  TRENT  rise  and  go  to  ROSALIE'S  chair.) 

CROSBY.     I'm  going  to  fasten  your  ankles  now, 
Madame  La  Grange. 
ROSALIE.     That's  right. 

^CROSBY  ties  ROSALIE'S  ankles  to  leg  of  chair.    The 
other  two  men  look  on.) 

WALES.     I  don't  believe  all  this  is  necessary. 

ROSALIE.     Why  not,  if  they  want  it? 

CROSBY.  Now  I'm  sure  she  can't  get  away.  ( MA 
SON  inspects  knot.) 

MASON.  So  am  I.  (The  men  resume  their 
places.) 

ROSALIE.  Well  now,  if  ye'll  all  sit  down,  please — 
(Pause) — ye'll  have  to  reach  over  and  take  my  hands 
this  time — are  ye  all  satisfied  now?  Is  there  any 
thing  more  ye  want  me  to  do?  (There  is  no  an 
swer)  Then,  if  ye'll  all  sit  quiet,  just  keep  yer 
minds  free,  that's  all  ye  have  to  do.  Now,  sir,  ye 
can  turn  out  the  lights. 

LAMP  OFF 

(There  is  a  long  pause.     ROSALIE  moans  and  whis 
pers  as  if  in  pain.) 

HELEN.     I  can't  stand  this,  I 

WALES.  Please  keep  still — she  asked  us  to  keep 
still. 

("ROSALIE  moans  again.  After  a  short  pause,  she 
gives  a  choking  sob.  Another  pause.  Finally 
she  speaks  with  frequent  pauses,  using  the  voice 
of  a  little  child.) 

SET 


40  THE  THIRTEENTH  CHAIR 

ROSALIE.  Laughing  Eyes  is  sad,  very  sad.  I'm 
a  long  way  off — a  long  way.  (Pause)  Bad  people, 
bad  people,  unhappy — he's  unhappy —  (Pause. 
Knife  is  set  down  in  sight  of  audience,  seen  sticking 

in  ceiling)  Spencer  wants  to  tell  Ned (She 

moans  heavily)  It  hurts — terribly — like  a  knife — 

it  burns — burns,  in  the  back fMAN's  voice 

from  settee,  facing  fireplace,  says)^ 

VOICE.  Ned,  I  want  Ned — why  in  hell  don't  Ned 
answer  ? 

ROSALIE.  (In  child's  voice)  He  wants  to  talk 
to  Ned — is  Ned  here? 

STANDISH.  Ned  who?  Who  is  it?  Who  does 
he  want  to  speak  to  ? 

ROSALIE.  (In  child's  voice)  Tell  Ned  it's  Spen 
cer — Spencer  wants  to  tell  Ned  about  the  letters 
and  the  pain  in  the  back — in  the  back. 

STANDISH.  What  was  in  the  back?  (There  is 
no  answer)  Ask  him  what  was  in  the  back ! 

ROSALIE.  (Still  using  child's  voice)  The  knife 
— Ned — he  wants  Ned. 

WALES.     What  do  you  want? 

ROSALIE.  A  swimming  pool — don't  forget  the 
swimming  pool.  Don't  ever  forget 

WALES.  You  mean  the  time  he  went  in  after  me 
when  I  was  drowning?  When  we  were  little  boys? 
Is  that  what  he  wants  me  to  remember  ? 

ROSALIE.  Spencer  says  he  can't  rest — he  wants 
to  tell  you  it's  liard  to  reach — too  far  away — you 
promised 

WALES.     Promised  what?    When  did  I  promise? 

ROSALIE.     Your  life  saved 

WALES.  Now  I  know — I  told  him  I'd  do  any 
thing  in  the  world  for  him.  Spencer,  of  course,  I 
remember — what  do  you  want  me  to  do  ? 

ROSALIE.     Find — find— 

WALES.     Do  you  want  me  to  find  the  letters  ? 


THE  THIRTEENTH  CHAIR  41 

ROSALIE.  In  the  back — someone  came — someone 
came. 

WALES.     You're  trying  to  tell  who  killed  you? 

ROSALIE.     Ask — ask — ask. 

WALES.  You  want  me  to  ask  questions?  Is  that 
it?  You  mean  you  can't  talk  much? 

ROSALIE.     Too  far  away. 

READY  LIGHTS 

CROSBY.  You  know  who  killed  you?  (There  is 
a  pause,  but  no  answer.) 

ROSALIE.     He  says,  Ned,  he  wants  Ned. 

WALES.     You  want  me  to  ask  ? 

ROSALIE.     He  wants  Ned  to  ask. 

WALES.     Do  you  know  who  killed  you? 

MRS.  TRENT.     (Hysterically)    Oh,  my  God! 

CROSBY.     Keep  still,  daughter. 

WALES.  Can  you  tell  the  name  ?  ("ROSALIE  sud 
denly  gives  a  long  moan)  Quick,  the  name,  the 
name.  Spencer,  tell  me  who  killed  you — she's  com 
ing  out  of  her  trance.  I  want  the  name.  ^ROSALIE 
moans  again.  Her  cry  is  over-topped  by  a  shriek 
from  WALES/  Oh,  my  God.  My  back — Oh! 
(Then  there  is  a  dead  silence  that  lasts  as  long  as  it 
will  hold.) 

CROSBY.     Wales,  is  anything  the  matter? 

MRS.  TRENT.     Father,  he's  pulling  at  my  hand. 

TABLE  LIGHT  ON 

CROSBY.     Lights,  son. 

fWiLL  suddenly  turns  on  the  light  at  table.  WALES 
is  discovered  leaning  forward,  the  circle  is  un 
broken.) 

MRS.  TRENT.  Look  at  him !  Father !  Look  at 
him! 

(  CROSBY  drops  ROSALIE'S  hand  and  springs  forward 
toward  WALES.  At  the  same  instant  WALES 


42  THE  THIRTEENTH  CHAIR 

falls  forward  on  his  face  to  the  floor.  The 
others  all  rise,  chairs  are  knocked  over  in  the 
confusion  which  follows.) 

WARN 
CROSBY.     Stand  back,  please.    ( The  OTHERS  move 

back  a  little — CROSBY  leans  over  WALESA    Why,  he 

— why — it's  impossible. 

MRS.    CROSBY.     Roscoe.     look     at     your     hand. 

( CROSBY  looks  at  his  hand,  takes  out  his  handker 
chief  and  wipes  it  hurriedly.  He  crosses  sud 
denly  to  the  door  at  L.  ROSALIE  has  come  out 
of  her  trance  and  sits  staring  at  WALES  as  he 
lies  on  the  floor  in  front  of  her.  The  two  fig 
ures  are  thrown  out  from  the  shadows  of  the 
room  by  the  light  on  the  table  back  of  MADAME 
LA  GRANGE.  The  rest  of  the  room  is  in  semi- 
darkness.) 

CROSBY.  ("TRENT  kneels  by  WALES'  body)  Pol 
lock  !  Pollock ! 

POLLOCK.  (Outside)  Yes,  Mr.  Crosby.  ( TRENT 
turns  WALES'  body  over  on  back.) 

CROSBY.  Get  on  the  phone  at  once  and  call  up 
Police  Headquarters.  Get  Inspector  Donahue  if  you 
can.  Tell  him  to  come  to  the  house  at  once. 

READY  CURTAIN 

POLLOCK.     Very  good,  sir. 

("CROSBY  turns  away  from  the  door,  and  faces  the 
OTHERS,  who  have  followed  him  over.) 

WILL.  Father,  what  do  you  suppose  it  is?  Are 
you  sure  that 

MRS.  TRENT.  It  can't  be.  He  was  talking 
and 


THE  THIRTEENTH  CHAIR  43 

MRS.  CROSBY.  Roscoe,  are  you  sure?  Hadn't 
we  better  send  for  Doctor  Griggs? 

^TRENT  is  leaning  over  WALES'  body  on  floor.) 

TRENT.     It's  no  use.     He's  dead. 

CROSBY.     Murdered. 

TRENT.     (Rises)    What  ? 

CROSBY.  Mr.  Wales  was  stabbed  in  the  back, 
just  as  Spencer  Lee  was  stabbed  in  the  back. 

STANDISH.  Just  as  he  was  asking — just  when  he 
was  trying  to  find  out  who — 

(There  is  a  knock  on  the  door  down  L.j 

CROSBY.     What  is  it  ? 

POLLOCK.  (Outside  of  door)  Inspector  Dona 
hue  was  at  the  Fifty-first  Street  Station,  sir.  He's 
on  his  way  here.  (There  is  a  pause)  Shall  I  un 
lock  the  door,  sir? 

CROSBY.     No — not  until  the  Inspector  tells  you. 

CURTAIN 


ACT  II 

SCENE  :     Same  as  Act  I. 
TIME:     Ten  minutes  later. 

DISCOVERED  :  CROSBY  is  standing  by  door  L.  ROSA 
LIE  is  still  tied  in  chair.  Dummy  supposed  to 
represent  WALES'  body  covered  by  a  piece  of 
drapery,  has  been  placed  on  settee  facing  fire 
place  up  c. 

MRS.  TRENT  seated  below  console  table  L.  end 
of  settee. 

Miss  EASTWOOD  seated  next  to  ROSALIE  at  R. 
end  of  console  table  R.  of  settee. 

STANDISH  over  R.  by  table. 

HELEN  and  WILL — standing  above  table  R. 

MRS.  CROSBY  seated  L.,  next  to  ROSALIE. 
Miss  ERSKINE  seated  next  to  MRS.  CROSBY. 
MASON  in  front  of  fireplace  c.,  looking  at 
WALES'  body. 

TRENT  ^valking  up  stage  L.  as  curtain  rises. 
All  lamps  on  stage  lit.  Rose  foots  up  full. 
Amber  foots  one-quarter  up.  No  border  light. 

Arrangement  of  chairs  for  Second  Act.  Big 
armchair  up  c.,  facing  audience.  Single  chair 
R.  of  armchair.  Chair  upper  end  of  table  R. 
Armchair  back  of  table  R.  Chair  lower  end  of 
table  R.  Small  chair  in  front  of  table  R.  Small 
chairs  down  c.,  with  space  between;  these  two 
chairs  turn  sideways  to  audience.  Chair  down 
L.  Armchair  against  flat  below  door  L.  Chair 
up  L.  Chair  with  upholstered  seat  L.  of  ROSA 
LIE'S  chair.  Small  chair  R.  corner  of  console 
table,  L.  of  settee.  Small  chair  L.  side,  a  little 
44 


THE  THIRTEENTH  CHAIR  45 

below  console  table  L.  end  of  settee.  Book  on 
table  R.  end  of  settee.  Console  table  moved  up 
stage  to  R.  end  of  settee.  STANDISH  teetering 
chair  below  table  RV  ERSKINE  tapping  chair, 
EASTWOOD  rattling  book  leaves.  MASON  takes 
book  away  from  her.  Miss  STANDISH  sitting 
L.C.  between  MRS.  CROSBY  and  MRS.  TRENT. 
As  curtain  rises,  MRS.  TRENT  rises,  goes  to 
CROSBY  L.  TRENT  walks  up  stage  L.  at  rise. 

MRS.  TRENT.  (Rises,  goes  L.  to  CROSBY,)  Father, 
please  let  me  go  to  my  room. 

CROSBY.     It  is  impossible,  my  dear. 

TRENT.  But,  Mr.  Crosby—  (Goes  to  CROS 
BY  L.) 

CROSBY.  (Interrupting  him)  It's  quite  impos 
sible. 

fMRS.  TRENT  sits  in  chair  up  LV  followed  by  TRENT, 
who  stands  R.  side  of  MRS.  TRENT.  STANDISH 
is  standing  by  table  over  R.J 

STANDISH.  (Below  table  over  R.J  Mr.  Crosby, 
I  must 

CROSBY.  fWiLL  sits  back  of  table  R.  HELEN  sits 
above  table  R.j  Mr.  Standish,  I  just  refused  to  let 
my  own  daughter  leave  the  room.  (Slight  pause.) 

STANDISH.     But  don't  you  see,  sir — 

CROSBY.  My  dear  Standish,  poor  Wales  was 
killed  by  someone  in  this  room.  We  are  all  of  us 
under  suspicion.  Everyone  of  us.  (Slight  move 
ment  from  ALLJ  It's  an  awful  thing  to  say — some 
one  of  us  in  this  room  has  killed  Wales — which  one 
of  us? 

(Knock  on  door  down  L.  ) 

THREE  KNOCKS 


46  THE  THIRTEENTH  CHAIR 

CROSBY.    Yes. 

POLLOCK.     (Outside)     The  police  are  here,  sir. 

CROSBY.     Who  is  it? 

DONOHUE.  (Outside  at  door  down  L.J  Inspec 
tor  Donohue. 

CROSBY.  fWiLL  rises)  Pollock,  you  will  give 
Inspector  Donohue  all  the  keys. 

POLLOCK.     Yes,  Mr.  Crosby.    (There  is  a  pause.) 

DONOHUE.  (Still  outside  the  door)  What  is  all 
this? 

POLLOCK.  (Outside  door  doivn  L.J  I  don't  know, 
I'm  sure.  I  was  told  to  lock  the  door.  I  don't 
know  what's  been  going  on  inside.  Then  I  was  told 
to  call  you.  This  is  the  right  key  for  that  door. 

(The  noise  of  the  key  being  put  into  the  lock  can  be 
heard,  then  the  click  as  it  is  turned  in  the  lock, 
then  the  door  is  opened,  and  INSPECTOR  DONO 
HUE,  in  citizen's  dress,  comes  well  on  stage  L. 
SERGEANT  DUNN  enters,  drops  below  door  L. 
He  is  seen  to  be  a  clean-cut,  intelligent -looking 
man  of  fifty.  It  later  develops  that  he  is  re 
served  and  extremely  quiet  in  manner.  He 
speaks  like  a  gentleman  and  acts  like  one.  He 
is  as  little  like  the  traditional  stage  police  in 
spector  as  it  is  possible  to  induce  a  tradition- 
bound  manager  to  permit.) 

DONOHUE.     Oh,  Wales !    Where's  Mr.  Wales  ? 

CROSBY.  (L.C.)  How  did  you  know  that 
Wales 

DONOHUE.  (L.  of  CROSBY.  Interrupting  him) 
I  don't  know  anything.  I  was  thinking  of  some 
thing  else.  I  was  told  that  I  was  wanted  here  in  a 
hurry. 

CROSBY.  Queer  your  asking  for  Wales.  Mr. 
Wales  is  dead ;  that's  why  I  sent  for  you. 

DONOHUE.     Wales  is  what? 


THE  THIRTEENTH  CHAIR  47 

CROSBY.     Wales  is  dead. 

Miss  EASTWOOD.  (Still  seated  R.cJ  Yes,  and  if 
you  ask  me 

DONOHUE.  Just  a  minute,  please,  Miss.  (He 
turns  to  CROSBY,)  It  must  have  been  very  sudden. 

Why,  only  this  afternoon  I Did  he  ask  you  to 

send  for  me? 

CROSBY.  (L.C.)  Inspector,  you  don't  seem  to 
understand.  Mr.  Wales  was  murdered  in  this  room 
not  fifteen  minutes  ago. 

(Other  characters  keep  positions  as  at  rise  of 
curtain.) 

DONOHUE.  (His  manner  changing  abruptly) 
Mike!  That  door!  ("SERGEANT  DUNN  closes  door 
L.  and  stands  in  front  of  it)  Where  have  you  taken 
him? 

CROSBY.     (Pointing     to     the    sofa     c.)     There. 

( DONOHUE  goes  up  L.  end  of  settee  c.,  stands  look 
ing  doivn  on  the  body.  There  is  a  long  pause 
and  then,  slowly  raising  his  head,  looks  with 
terrible  deliberation  at  each  person  in  the  room. 
MASON  goes  to  R.  end  of  settee.) 

DONOHUE.     Who  did  this  ? 

CROSBY.     We  don't  know. 

DONOHUE.  (Very  quietly)  Then  I  expect  we'll 
have  to  find  out.  (He  comes  dozvn  R.  end  of  settee, 
stops  when  he  sees  ROSALIE.  He  gives  a  short  laugh 
as  he  sees  how  she  is  tied  to  the  chair)  What's 
this  ?  (-R.C.) 

MRS.  CROSBY.  (Rises)  Good  Heavens,  we  for 
got  to  untie  her.  I'm  so  sorry. 

ROSALIE.  Thank  ye,  ma'am,  I'm  quite  comfort 
able  as  it  is.  I'll  stay  as  I  am  if  ye  don't  mind. 

MRS.  CROSBY.     But —         (Bus.  unties.) 


48  THE  THIRTEENTH  CHAIR 

DONOHUE.  I  think  we'll  leave  things  as  they  are 
for  the  present. 

("MRS.  CROSBY  resumes  same  seat  as  before.) 

ROSALIE.     Bless  me  soul,  a  cop  with  brains! 

DONOHUE.  (Goes  to  CROSBY  down  LV  standing 
R.  side  of  CROSBY)  Let's  see  if  he  can't  use  them 
then.  Now,  Mr.  Crosby,  tell  me  exactly  what  hap 
pened. 

CROSBY.  (L.C.)  I  know  it  sounds  foolish,  but 
we  were  having  a  spiritualistic  seance.  Madame  La 
Grange  is  a  medium. 

DONOHUE.     I  see. 

CROSBY.  We  were  sitting  in  the  dark,  in  a  circle, 
you  know,  holding  hands.  Suddenly  Wales  cried 
out.  I  called  to  my  son  to  turn  on  the  light.  He 
did  so.  Wales  was  leaning  forward  in  his  chair. 
His  hands  were  in  those  of  the  people  he  sat  be 
tween,  and  all  the  rest  of  us  were  sitting  around. 

DONOHUE.     (R.  of  CROSBY)     All  of  you? 

CROSBY.     Yes. 

DONOHUE.  I  thought  you  told  your  son  to  turn 
on  the  lights.  fL.cJ 

CROSBY.     If  you're  implying  that 

DONOHUE.  I'm  not  implying  anything,  and  please 
answer  my  questions. 

WILL.  (Rises,  and  stands  back  of  table  R.)  Why, 
Inspector,  I  was  sitting  there,  and  simply  made  a 
move  to  turn  on  the  light.  I  had  chosen  the  seat 
purposely.  We  wanted  to  expose  trickery,  if  we 
found  any. 

DONOHUE.  I  understand.  Go  on,  Mr.  Crosby. 
(He  turns  again  to  CROSBY.) 

CROSBY.  (L.C.)  In  a  moment  poor  Wales  fell 
to  the  floor.  I  ran  to  him  and  found  that  he  had 
been  stabbed  in  the  back.  Before  we  could  call  for 
aid,  he  was  dead. 


THE  THIRTEENTH  CHAIR  49 

DONOHUE.     Did  he  say  anything? 

CROSBY.  No.  I  think  that  he  was  dead  before 
we  got  to  him. 

DONOHUE.     What  happened  then? 

CROSBY.  As  soon  as  I  realized  what  had  hap 
pened,  I  sent  for  you. 

DONOHUE.  Why  for  me?  Why  not  simply  notify 
the  police?  I  mean,  was  there  any  special  reason 
for  wanting  me? 

CROSBY.  There  was,  but  I  wasn't  conscious  of  it 
at  the  time.  We'd  been  talking  about  the  killing  of 
Spencer  Lee  earlier  in  the  evening,  and  I  suppose 
that  subconsciously  I  remembered  that  you  were 
handling  that  case,  which  brought  yours  as  the  first 
name  to  my  mind.  That's  all. 

DONOHUE.  I  see.  (Goes  to  c.  a  few  steps) 
Now,  then,  who's  been  in  or  out  of  this  room  since? 
Of  course  you  know  you  had  no  right  to  move  Mr. 
Wales. 

CROSBY.  (L.C.)  Yes,  I  know,  but  I  couldn't  let 
him  lie  there  on  the  floor.  It  was  a  little  too  much. 
You  see,  we  were  all  locked  in  here  and 

DONOHUE.  Locked  in?  You  mean  as  I  found 
you  when  I  came? 

CROSBY.  Exactly.  We  had  all  of  the  windows 
fastened  and  all  doors  locked  for  the  seance.  Pol 
lock  had  the  keys.  I  refused  to  let  him  open  the 
door  until  you  came. 

DONOHUE.  Mr.  Crosby,  you  are  forgiven  for 
breaking  the  Coroner's  rules.  As  I  understand,  then, 
you  were  sitting  in  this  room  with  the  doors  and 
windows  locked ;  you  were  in  the  dark,  Wales  was 
stabbed  in  the  back,  the  lights  were  turned  on,  and 
no  one  has  left  the  room  or  entered  since? 

CROSBY.     No  one  but  you. 

DONOHUE.  I  didn't  kill  him.  (Crosses  c.  There 
is  a  long  pause,  then  he  turns  with  a  sweeping  ges 
ture.)  Which  one  of  you  did?  (Slight  movement 


50  THE  THIRTEENTH  CHAIR 

from  OTHERS — who  are  still  seated.  There  is  a  long 
pause.  No  one  speaks.  Very  quietly  doivn  R.C.  Be 
low  table  R.)  Now,  I'm  not  going  to  employ  the 
usual  police  methods.  There  is  to  be  no  bulldozing 
or  threatening  or  badgering.  But  you  all  can  see 
that  there  can  be  no  escape  for  the  guilty  person.  I 
realize  that  this  is  a  terrible  situation  for  all  of  you, 
but  the  only  way  to  relieve  it  is  for  the  murderer  of 
Mr.  Wales  to  confess.  (Another  pause)  It  will 
save  a  long,  and  I  assure  you,  a  very  trying  police 
investigation.  Let  me  say  also  that  there  will  be  no 
recriminations,  no  unpleasant  scenes.  I  realize  that 
this  seems  a  very  weak  plea  for  a  confession.  But 
I  am  counting  on  the  intelligence  of  the  people  now 
in  this  room.  (He  takes  out  his  ivatch,  and  holds 
it  face  upward  in  his  hand)  I  have  unlimited  time. 
But  not  a  great  deal  of  patience.  Well?  (There  is 
another  long  pause.  He  finally  replaces  his  watch 
with  a  little  gesture  of  finality.  He  turns  suddenly 
to  Miss  EASTWOOD,  who  is  still  seated  up  R.C.) 
Very  well,  then.  What  is  your  name? 

Miss  EASTWOOD.     Mary  Eastwood. 

DONOHUE.  A  moment  ago,  Miss  Eastwood,  you 
started  to  tell  me  something.  You  said  "if  you  ask 
me."  Now  I  am  asking  you.  What  was  it  you 
wanted  to  tell  me? 

Miss  EASTWOOD.  (Seated  R.  of  console  table  R.) 
I  don't  want  to  especially.  But  I  think  I  ought  to 
tell  you  this.  No  one  else  seems  to  have  thought  of 
it.  When  the  seance  started  we  were  all  sitting  in  a 
circle  holding  each  other's  hands.  As  I  understand 
it 

DONOHUE.  We  can  take  it  for  granted  that  I 
know  how  that  is  done.  Go  on,  please. 

Miss  EASTWOOD.  The  medium  got  out  of  the 
circle  without  our  knowing  it,  and  then  showed  us 
how  she  did  the  trick. 

DONOHUE.     I  see. 


THE  THIRTEENTH  CHAIR  51 

Miss  EASTWOOD.  Why  couldn't  she  have  done  it 
again?  Of  course,  that's  what  someone  did,  isn't  it? 
And  if  she  could  get  out  of  the  circle,  without  our 
knowing  it,  she  could  get  back  in  again,  couldn't 
she?  (With  an  air  of  triumph — HELEN  rises) 
That's  what  I  wanted  to  tell  you. 

ROSALIE.  If  anyone  of  ye  or  all  of  ye  can  get 
me  out  of  this  chair  without  untying  me  or  cutting 
me  loose,  I'll  say  I  done  that  murder. 

(HELEN  sits  above  table  Rj 

DONOHUE.  Thank  you,  Miss  Eastwood.  It's 
only  fair  to  tell  you  that  there  isn't  a  trick  or  an 
effect  that  these  people  do  that  the  police  do  not 
understand  perfectly. 

ROSALIE.     Is  that  so? 

( DONOHUE  goes  over  and  examines  the  way  in  which 
ROSALIE  is  tied  to  the  chair.) 

DONOHUE.     Why  was  she  tied  up? 

CROSBY.  (Down  L.C.J  At  her  own  request.  As 
Miss  Eastwood  says,  she  showed  us  how  she  broke 
out  of  the  circle  and  then  suggested  that  we  tie  her 
into  that  chair  to  make  sure  she  didn't  do  it  again. 

DONOHUE.  (R.  of  ROSALIE'S  chair)  It's  lucky 
for  her  that  she  did.  Even  if  she  had  gotten  out  of 
those  knots,  there's  no  way  in  the  world  that  she 
could  get  back  in. 

ROSALIE.  I  said  the  cop  had  brains.  (DONOHUE 
turns  away  from  her)  Get  me  loose,  Inspector, 
dear,  me  foot's  asleep. 

(DONOHUE  turns  back,  unties  handkerchief  with 
which  she  is  tied.  She  gets  up  and  stands  in 
front  of  armchair  c.) 


52  THE  THIRTEENTH  CHAIR 

DONOHUE.  Thank  you  very  much,  Miss  East 
wood,  that  eliminates  one. 

ROSALIE.     Then  I  can  go?    (Starting  for  door  L.J 

DONOHUE.  You  cannot.  ^ROSALIE  goes  R.  of 
armchair  and  sits  R.  end  of  settee  c.)  Anyone  else 
have  anything  they  want  to  tell  me?  No?  Mike, 
you'd  better  phone  the  Coroner  and  ask  him  to  come 
up  here.  Tell  him  I  do  not  want  the  case  reported 
yet.  And  suggest  that  he  hurries. 

DUNN.  Yes,  Inspector.  (He  turns  and  exits  LV 
leaving  the  door  open  behind  him. — STANDISH  starts 
to  door  L.) 

DONOHUE.  (Turning  to  STANDISH  and  TRENT — 
who  start  to  go  L.J  That  open  door  does  not  mean 
freedom  for  any  of  you  yet. 

TRENT.  (Coming  to  DONOHUE  c.)  I'm  awfully 
sorry,  Inspector,  but  I've  an  important  business  en 
gagement  at  ten  o'clock.  My  father-in-law  here 
will 

DONOHUE.     That's  quite  impossible. 

CTRENT  goes  up  L.  again  and  stands  L.  side  of  MRS. 
TRENT.; 

STANDISH.  (Crosses  L.C.)  This  is  all  very  well, 
Inspector,  but  you  know  you  can't  keep  us  in  this 
room  forever.  If  you  want  to  take  the  consequences 
of  accusing  me  of  murder;  well,  that's  your  affair. 
But  my  patience  is  exhausted  and  I  haven't  the 
slightest  intention  of  remaining  here  much  longer. 
Unless,  of  course,  you  are  planning  to  arrest  me. 

DONOHUE.  I  see.  (c.)  By  the  way,  who  are 
you? 

STANDISH.  (L.C.)  Howard  Standish,  of  Stand- 
ish,  Giles  &  Updegraff,  120  Broadway.  My  brother 
is  Judge  Standish  of  the  Supreme  Court. 

DONOHUE.  And  you  refuse  to  remain  here  any 
longer?  (c.) 


THE  THIRTEENTH  CHAIR  53 

STANDISH.    I  do.    (L.C.) 

DONOHUE.  Very  well,  Mr.  Standish,  of  Stand- 
ish,  Giles  &  Updegraff.  You  are  arrested  as  a  ma 
terial  witness  in  this  case.  As  soon  as  Sergeant 
Dunn  returns,  he  will  call  a  patrol  wagon  and  take 
you  down  to  the  House  of  Detention.  (Turns- 
crosses  R.J  Are  there  any  others  who  insist  on  leav 
ing  this  room? 

STANDISH.  (L.C.)  I  beg  your  pardon,  Inspec 
tor,  I  acted  like  a  fool.  ( MASON  R.  of  settee  c.) 

DONOHUE.  Not  at  all,  sir,  your  actions  are  en 
tirely  natural. 

(^STANDISH  goes  up  L.    DUNN'S  voice  is  heard  out 
side.) 

DUNN.  Hello!  Hello!  No,  sir.  But  Inspector 
Donohue  wants  you  to  come  here  at  once.  We're 
at  Mr.  Roscoe  Crosby's  house.  No,  sir- — (DoNO- 
HUE  crosses  and  closes  the  door  L.J — he  doesn't 
want  the  case  reported  yet. 

DONOHUE.  We  needn't  be  bothered  with  that, 
anyway.  (Crosses  to  R.C.  There  is  a  pause)  Well, 
I'm  afraid  we'll  have  to  begin  work.  (He  goes  over 
to  table  R.  and  sits  down  stage  end  of  table.  Takes 
paper,  gets  pencil)  With  the  exception  of  Mr. 
Crosby,  who  is  known  to  nearly  every  one,  and  Mr. 
Standish,  who  has  so  pleasantly  introduced  himself 
to  me,  I  know  none  of  you.  So  I'll  have  to  ask— 
(He  stops  suddenly  and  rises,  facing  them  all.  He 
points  slowly  to  the  sofa,  facing  fireplace  up  c.) 
That's  rather  a  gruesome  thing  there.  I  think  we'll 
move  it  into  another  room.  Will  some  of  you  gen 
tlemen  carry  Mr.  Wales'  body  into  the  other  room? 
(There  is  a  pause.  The  MEN  all  hesitate.  Finally 
MASON  starts  to  settee  c.  down  stage  R.cJ  Thank 
you  very  much,  we'll (Coming  to  c.) 

(DUNN  enters  from  L.) 


54  THE  THIRTEENTH  CHAIR 

DUNN.  Dr.  Bernstein  himself  is  on  the  way  here. 
Inspector. 

DONOHUE.  Good.  Mike,  get  one  of  the  servants 
to  help  you  to  carry  this  sofa  into  another  room. 
(DuNN  turns  and  exits  L.  ivithout  speaking)  I 
won't  have  to  trouble  you  after  all,  sir.  ("MASON 
drops  to  console  table  R.  of  settee.  He  gives  a  little 
laugh)  Funny  how  these  old  superstitions  cling  to 
us.  One  of  the  first  tests  for  guilt  invented  by  de 
tectives  was  to  ask  a  supposed  murderer  to  touch 
the  body  of  his  victim.  (Slight  pause)  The  test 
didn't  work  very  well,  did  it?  Certainly  you  four 
gentlemen  can't  all  be  guilty.  (Slight  pause)  Well, 
we'll  have  to  try  something  else.  (Very  impres 
sively)  Because  you  know  I  really  am  going  to 
arrest  the  murderer  of  Edward  Wales  to-night. 
(DUNN  enters  from  i..,  followed  by  POLLOCK,)  Carry 
the  sofa  into  another  room,  please. 

CROSBY.  (Down  L.J  Into  that  room,  please. 
(Indicating  door  L.cJ 

(DUNN  goes  up  to  door  L.C.,  turns  knob — discovers 
door  is  locked.  POLLOCK  crosses  to  R.  end  of 
sofa,  facing  fireplace  on  which  dummy  has  been 
placed  between  First  and  Second  Acts.  Dummy 
is  covered  with  a  drapery.) 

DUNN.  (At  door  L.C.,  the  door  is  locked)  The 
door  is  locked. 

DONOHUE.     (c.)    Oh,  yes,  try  these  keys. 

(DuNN  comes  down  L.C.,  gets  keys,  goes  up  and  un 
locks  door. — He  and  POLLOCK  pick  up  settee — 
POLLOCK  taking  his  end  of  settee  through  door 
L.C.  first.) 

DONOHUE.     And    Mike (DuNN    turns   his 

head.) 


THE  THIRTEENTH  CHAIR  55 

DUNN.     Yes,  sir. 

DONOHUE.  Make  as  quick  an  examination  as 
you  can  and  report  to  me  here.  (The  MEN  exit, 
carrying  sofa  into  room  L.C.  DONOHUE  crosses  to 
chair  below  table  R. — sits.  Miss  STANDISH  sits  in 
circle  betzveen  ERSKINE  and  TRENT.  TRENT  places 
chair  L.C.)  If  you  will  all  come  a  little  closer,  please. 
(WILL  back  of  table  R. — HELEN  O'NEILL  seated 
above  table,  Miss  EASTWOOD  seated  below  console 
table  R.  end  of  settee,  ROSALIE  seated  c.  settee,  MRS. 
CROSBY  seated  in  armchair  up  c.,  MASON  standing 
upper  end  of  table  R.,  Miss  ERSKINE  seated  up  L.C. 
MRS.  TRENT  seated,  STANDISH  L.  of  armchair,  and 
TRENT  seated  L.C.  CROSBY  down  L.C.)  Now  I  can 
see  you  all  quite  comfortably.  (Seated  lower  end 
of  table  R.  POLLOCK  enters  door  L.C.,  closes  door — 
crosses  to  door  L. — Exits,  closing  door)  As  I  started 
to  say  a  moment  ago,  I  shall  have  to  find  out  some 
thing  about  each  of  you.  You,  Madame?  (He 
turns  to  MRS.  CROSBY.) 

MRS.  CROSBY.  (Seated  in  armchair  c.)  I'm 
Alicia  Crosby.  Mrs.  Roscoe  Crosby.  (He  makes 
notes,  with  pencil  on  paper  in  front  of  him.) 

DONOHUE.  I'm  sorry  to  trouble  you,  Miss 

(He  points  his  pencil  at  Miss  ERSKINE,  L.C.) 

Miss  ERSKINE.     Elizabeth  Erskine.     I'm 

DONOHUE.     It's  not  necessary  to  tell  your  age. 

Miss  ERSKINE.  I  wasn't  going  to.  I'm  the 
daughter  of  Edward  Erskine.  My  father  is  the 
banker.  (Sits  L.C.) 

DONOHUE.  I  know  him.  Thank  you.  You  are 
then  merely  a  guest  here? 

Miss  ERSKINE.     A  friend. 

DONOHUE.     Miss  Eastwood,  I  already  know. 

DONOHUE.     And  you,  Miss? 

Miss  STANDISH.     Grace  Standish. 

STANDISH.     My  sister. 

DONOHUE.     Oh !    And  this  young  lady  ? 


56  THE  THIRTEENTH  CHAIR 

CROSBY.  (He  puts  his  hand  on  MRS.  TRENT'S 
shoulder,  L.cJ  My  daughter,  Mrs.  Trent.  She  and 
Trent,  here,  live  with  us. 

DONOHUE.     And  you,  sir? 

MASON.  (There  is  a  pause)  Phillip  Mason.  (At 
upper  end  of  table  R.J 

DONOHUE.     That  doesn't  tell  me  very  much. 

MASON.  (With  a  laugh)  There  isn't  much  to 
tell.  I'm  just  a  friend  of  the  family's.  We've 
known  each  other  for  years.  I've  lived  in  Paris 
for  the  last  two  or  three  years.  I'm  a  painter. 

DONOHUE.     You  mean  an  artist? 

MASON.  Well,  I  don't  paint  houses  or  fences,  but 
I'd  hardly  call  myself  an  artist — yet. 

DONOHUE.  Poor,  I  suppose?  I  know  you'll  par 
don  that  question,  won't  you? 

MASON.  Quite  all  right,  I  assure  you.  No,  I'm 
not  poor. 

DONOHUE.  (He  turns  toward  WILL  who  is 
standing  back  of  HELEN'S  chair  above  table  R.J 
Thank  you.  And  you  ? 

WILL.     I'm  young  Crosby. 

DONOHUE.     I  see.    Live  home.  I  suppose? 

WILL.     Certainly,  where  else  should  I  live? 

DONOHUE.  I  thought  perhaps  you  might  be  mar 
ried. 

CROSBY.  (L.C .)  He's  not,  but  if  he  were  he'd  live 
with  us  and 

WILL.  No,  Father.  When  I  marry  I've  got  to 
have  my  own  home  and 

CROSBY.  Nonsense.  Don't  talk  like  a  fool. 
You'd  live  here  with  me  and  your  mother — and 
your  wife,  of  course. 

DONOHUE.  I  think  perhaps  we'd  better  defer  that 
discussion,  gentlemen.  (He  turns  toward  HELENA 
And  this  young  lady  ? 

WILL.     My  fiancee,  Miss  O'Neill. 


THE  THIRTEENTH  CHAIR  57 

DONOHUE.  Well,  that  finishes  that.  (Rises — 
stands  below  table  R.J 

Miss  EASTWOOD.  But,  Inspector,  you  haven't 
asked  anything  about  the  medium? 

DONOHUE.  Perhaps  I  don't  consider  that  neces 
sary,  Miss  Eastwood. 

Miss  EASTWOOD.     But — 

DONOHUE.  And  I'm  terribly  set  on  conducting 
this  investigation  in  my  own  way,  if  you  don't  mind. 

(Enter  DUNN  from  L.C.) 

DUNN.     Inspector. 

DONOHUE.     Well? 

DUNN.  (At  door  L.c.J  I  can't  tell  for  sure,  but 
I  guess  the  knife  went  clean  into  the  heart.  He 
must  have  died  instantly. 

DONOHUE.  All  right.  Let  me  know  when  the 
Coroner  arrives.  (DuNN  turns  and  starts  toward 
door  down  L.J  And  Dunn! 

DUNN.     Yes,  sir. 

DONOHUE.  (Going  c.)  You'd  better  let  me  have 
a  look  at  that  knife. 

( DUNN  turns  sharply  and  looks  at  him.) 

DUNN.     (Down  L.J    The  knife? 

DONOHUE.     Yes,  the  knife. 

DUNN.  I  haven't  seen  any  knife.  I  thought  you 
had  it. 

DONOHUE.  No.  I  haven't  seen  it.  (There  is  a 
long  pause.  R.  of  CROSBY )  Mr.  Crosby? 

CROSBY.     (Still  L.cJ     We  didn't  find  it. 

DONOHUE.     Look  carefully? 

CROSBY.  Everywhere.  While  we  were  waiting 
for  you. 

DONOHUE.     Who  moved  Mr.  Wales'  body?    (c.) 


58  THE  THIRTEENTH  CHAIR 

CROSBY,     (c.)    I  did. 

DONOHUE.     No  one  else  touched  him? 

CROSBY.     (L.C.)    No  one. 

DONOHUE.  What  did  you  do,  after  you  had  car 
ried  him  to  the  sofa? 

CROSBY.  I  saw  that  he  had  been  stabbed.  I 
looked  for  the  knife. 

DONOHUE.     Where? 

CROSBY.  On  the  floor,  under  the  chairs,  every 
where  I  could  think  of. 

DONOHUE.     No  trace  of  it? 

CROSBY.     None. 

DONOHUE.     What  did  you  do  then? 

CROSBY.     Nothing.     I  waited  for  you. 

DONOHUE.  How  long  after  you  found  that  Mr. 
Wales  was  killed  did  you  turn  on  the  lights? 

CROSBY.  Why,  I  told  you ;  we  turned  on  the  light 
before  we  found  what  had  happened. 

DONOHUE.  Would  it  have  been  possible  for  the 
murderer  to  have  hidden  it  about  the  room? 

CROSBY.     I  doubt  it  very  much. 

DONOHUE.     Why  ? 

CROSBY.  I  don't  think  there  would  have  been 
time.  I  don't  see  how  anyone  could  have  done  it  at 
all.  It's  all  a  mystery  to  me.  I  told  you  the  circle 
was  intact.  You  remember? 

DONOHUE.  (There  is  a  pause)  Yes,  I  remember. 
Then  if  the  knife  was  hidden  it's  probably  on  the 
person  of  the  man  or  woman  who  used  it. 

CROSBY.     I  think  so,  undoubtedly. 

DONOHUE.  Mike,  phone  over  to  the  station  house 
and  have  them  send  a  matron  over  here.  (DuNN 
exits  L.  and  closes  the  door  after  him)  Now  about 
that  light.  There  was  just  one  lamp  turned  on,  as  I 
remember. 

CROSBY.  Someone  turned  on  the  rest  of  the  lights, 
almost  immediately. 


THE  THIRTEENTH  CHAIR  59 

DONOHUE.  Could  the  knife  have  been  hidden 
about  the  room,  since  that  time  ? 

CROSBY.  It's  extremely  unlikely.  We  have  all 
been  here  together.  A  thing  of  that  sort  would  have 
been  seen. 

DONOHUE.  Then  I  expect  we'll  find  it  without 
much  trouble.  (There  is  a  pause,  as  he  looks  slowly 
at  each  person  individually  in  the  room.  WILL  puts 
arm  on  HELEN'S  shoulders  as  DONOHUE  looks  at 
him)  In  the  meantime,  I  think  we'll  let  it  remain 
where  it  is.  (Crosses  down  R.  He  turns  with  a 
gesture  ivhich  takes  them  all  in)  You  see  how  in 
evitably  the  guilty  person  must  be  discovered.  Don't 
you  think  it  would  be  much  simpler  to  confess? 
(Pause)  No?  Then  I  suppose  we  will  have  to  con 
tinue.  (Crosses  up  Lv  gets  chair — places  it  L.  side 
of  circle — then  gets  chair  down  L.,  places  that  in 
lower  left-hand  side  of  circle.  CROSBY  crosses  to  c.) 
I'd  like  to  visualize  the  scene  a  little  more  clearly. 
(TRENT  paces  chair  L.  side  of  circle)  Let's  form 

that  circle  again (Turns  two  single  chairs  down 

c.,  around  with  backs  to  audience.  Crosses  and  gets 
chair  in  front  of  table — places  it  lower  right-hand 
side  of  circle.  MRS.  CROSBY,  ERSKINE,  MRS.  TRENT, 
TRENT  and  Miss  STANDISH  rise,  cross  to  L.  of  cir 
cle)  Of  course,  this  time  without  Mr.  Wales. 
fMiss  EASTWOOD  rises,  stands  at  R.  end  of  settee. 
During  these  last  few  speeches  of  DONOHUE,  TRENT 
and  CROSBY  have  placed  the  remainder  of  chairs  of 
the  left-hand  side  in  circle)  Won't  you  all  sit  as  you 
were  sitting  at  the  seance? 

(By  this  time  circle  is  formed  completely  with  chairs. 
There  is  a  general  movement  of  those  on  the 
stage.  STANDISH  crosses  R.  to  above  table  R. 
The  minute  this  suggestion  is  made  ROSALIE 
comes  down,  nearer  to  DONOHUE  and  looks  at 


60  THE  THIRTEENTH  CHAIR 

him  anxiously.     Something  in  his  suggestion 
greatly  disturbs  her.) 

CROSBY.  (In  upper  L.  side  of  circle)  Will,  you 
were  there  by  the  lamp,  and  Madame  La  Grange  was 
next  to  you,  and  I  was  next  to  her 

DONOHUE.     Then  how  did  they  sit?     (Down  R.) 

CROSBY.  (Next  to  ROSALIE  L.cJ  I'm  trying  to 
remember.  It's  queer  what  a  jumbled  memory  one 
has.  If  anyone  had  asked  me  about  it,  I  would  have 
said  I  could  have  told  how  we  were  sitting  with 
great  accuracy.  But  I  can't  somehow. 

Miss  ERSKINE.  I  was  next  to  you,  Mr.  Crosby. 
(Upper  L.  side  of  circle.  She  turns  to  MRS.  CROSBY, 
who  is  standing  over  L.)  Don't  you  remember,  Mrs. 
Crosby,  he  said  he'd  always  wanted  to  hold  my  hand, 
and  we  joked  about  it.  (Sits  in  her  original  chair.) 

MRS.  CROSBY.  (L. — outside  of  circle)  Yes.  I 
remember. 

DONOHUE.  ('HELEN  starts  L.J  That's  all  right, 
then.  Who  came  next?  (Down  R.  They  all  hesi 
tate.) 

ROSALIE.  (Eagerly)  Inspector,  I  can  place  them 
all  for  you. 

MASON.  (Over  end  of  table  R.j  But  you  said 
you  didn't  care  how  we  sat. 

('HELEN  R.C.  in  circle.) 

ROSALIE.  Nor  did  I,  sorr.  But  I  was  mighty 
careful  to  know  where  ye  were  sittin'.  Shall  I  show 
ye,  Inspector? 

DONOHUE.  (After  a  pause)  If  you  will  be  so 
kind. 

ROSALIE.  (Miss  STANDISH  sits  in  circle)  The 
young  lady  was  here.  Well,  this  gentleman  was 
here.  (Indicating  TRENT'S  chair.) 

TRENT.     (From  L. — outside  of  circle)  By  George, 


THE  THIRTEENTH  CHAIR  61 

I  couldn't  have  told  you,  but  she's  right.  This  is 
exactly  where  I  was  sitting.  (Sits  in  circle.) 

ROSALIE.  (Taking  HELEN  hastily  by  the  shoul 
der  and  putting  her  in  the  next  seat)  And  this  young 
lady  was  here.  ( HELEN  looks  at  her  for  a  moment 
and  then  sinks  back  in  her  chair.  ROSALIE  points  at 
MASON )  He  came  next. 

MASON.  (Over  R.J  No,  you're  wrong  there.  I 
— you're  right.  I  remember  perfectly  I  was  next 
to  Miss  O'Neill.  (Crosses  L.  and  sits  L.  side  of 
circle)  I  know  just  how  her  hand  felt  in  the  dark. 

('WILL  looks  at  him  quickly.     HELEN   turns  and 
looks  at  him  in  wonder.) 

HELEN.  (Seated  L.  side  in  circle)  Well,  really, 
Mr.  Mason. 

MASON.  Oh,  I  don't  mean  it  that  way  at  all.  I 
assure  you  I  don't. 

WILL.     Then  why  did  you  say  it?    (Seated  R.cJ 

MASON.  My  dear  fellow,  I've  apologized.  You 
are  misunderstanding  me. 

MRS.  CROSBY.  I  think  we're  all  pretty  frazzled. 
(L.  outside  of  circle)  Inspector  Donohue,  must  we 
go  through  all  this  again? 

DONOHUE.     I'm  afraid  so,  Mrs.  Crosby. 

CROSBY.  Then  let's  get  it  over  as  quickly  as  pos 
sible.  (Sits  c.  in  circle.) 

DONOHUE.  Mr.  Crosby,  you  seem  to  forget  that 
this  is  a  police  investigation,  and  must  be  conducted 
as  I  see  fit.  Who  sat  next  to  Mr.  Mason? 

ROSALIE.  (Pointing  to  Miss  EASTWOOD,)  This 
young  lady. 

Miss  EASTWOOD.  I  was  next  to  Mr.  Mason, 
wasn't  I,  Phillip?  (Crossing  inside  of  circle — to 
chair  lower  L.  side  of  circle.) 

MASON.    Yes. 

DONOHUE.    Now  then,  who  occupied  this  seat?- 


62  THE  THIRTEENTH  CHAIR 

MRS.  TRENT.  (L.C.  outside  of  circle)  Mr.  Wales. 
I  know  because  I  sat  there,  and  I  was  next  to  him. 
Shall  I  sit  there  now  ? 

DONOHUE.     If  you  will  be  so  good. 

fMRS.  TRENT  crosses  to  R.  and  sits  in  circle.) 

STANDISH.  I  was  next  to  Mrs.  Trent.  (Upper 
end  of  table  R.  He  sits.) 

MRS.  CROSBY.  And  I  was  here  between  Mr. 
Standish  and  Billy.  (She  sits.  DONOHUE  moves  off 
a  step  down  R.  and  stands  looking  at  them  as  they 
sit.  ROSALIE  moves  over  and  takes -her  place  in  arm 
chair.) 

DONOHUE.  You  are  all  sure  that's  where  you 
were  sitting? 

Miss  EASTWOOD.  ^ROSALIE  rises)  There's  some 
mix-up  here.  I  know.  I  wasn't  next  to  Mr.  Wales. 

HELEN.  (Rises)  Of  course  you  weren't.  I 
don't  see  what  I  could  have  been  thinking  of,  /  sat 
where  Miss  Eastwood  is. 

Miss  EASTWOOD.  Yes,  and  I  was  next  to  Mr. 
Trent,  between  Phillip  and  Mr.  Trent.  I  felt  sure 
I  was  in  the  wrong  seat.  (Rises.) 

DONOHUE.  (Quite  casually)  Then  if  you  ladies 
will  exchange  places.  ( ROSALIE  gives  a  little  sigh 
of  relief  when  she  sees  that  DONOHUE  attaches  no 
importance  to  the  substitution  she  has  made.  HELEN 
and  Miss  EASTWOOD  change  seats — HELEN  crosses 
outside  of  circle)  Now,  we're  all  right,  aren't  we? 
(Slight  buzz  of  conversation)  You  are  quite  sure 
that  you  are  all  in  the  places  you  occupied  during 
the  seance? 

CROSBY.     Yes.     I  think  so. 

DONOHUE.  (He  puts  his  hand  on  the  empty 
chair)  We'll  pretend  that  Mr.  Wales  is  still  sit 
ting  here.  (Slight  movement  from  ALL,)  Now, 
Mr.  Crosby,  I'll  ask  you  to  tell  me  what  happened 


THE  THIRTEENTH  CHAIR  63 

after  the  seance  began.  But  first  I'll  ask  you  this 
question:  Was  there  any  special  arrangement  about 
the  seats  ? 

ROSALIE.  (Hurriedly — rises)  There  was  not, 
sorr.  I  towld  them  that  they  could  sit  anywhere 
they  liked  for  all  of  me.  Young  Mr.  Crosby  must 
have  sat  by  the  light  on  purpose.  And  I'm  sorry 
I  made  that  mistake  about  the  young  ladies.  I  don't 
know  how  I  came  to  make  a  mistake  like  that. 

DONOHUE.  Oh,  well,  if  they  couldn't  remember 
where  they  sat,  I  don't  see  how  I  can  expect  you  to 
be  entirely  accurate.  ^ROSALIE  sits  in  armchair  up 
c.)  However,  we're  all  right  now.  Now,  Mr. 
Crosby.  (Down  R.) 

CROSBY.  Well,  after  Madame  La  Grange  had 
shown  how  she  broke  out  of 

("ALL  look  at  DONOHUE. ) 

DONOHUE.  We'll  start  with  the  seance.  I  know 
how  mediums  break  the  circle  and  all  that.  And 
you  needn't  describe  how  she  went  into  that  trance 
of  hers. 

MASON.  (Seated  in  circle)  Inspector,  I  don't 
think  you're  fair  to  this  woman.  I  think  there's 
something  pretty  important  that  you  haven't  been 
told. 

fALL  look  at  MASON.,) 

DONOHUE.    Then  you'd  better  tell  me  now. 
MASON.     In  order  that  there  should  be  no  decep 
tion,  we  had  Madame  La  Grange  searched. 
DONOHUE.     I  see. 

MASON.     And  while  she  was  out  of  the  room 

DONOHUE.     Oh,  she  left  the  room? 

look  at  DONOHUE. 


64  THE  THIRTEENTH  CHAIR 

MASON.  Yes,  and  all  of  the  ladies  went  with 
her.  Then  someone  suggested  that  we  ask  Madame 
La  Grange  about  some  special  thing,  and  Mr.  Wales 
said  he  was  going  to  ask  her  to  get  in  communica 
tion  with  Spencer  Lee  and  see  if  we  couldn't  find 
out  who  killed  him. 

STANDISH.     Most  ridiculous  thing 

MASON.  As  soon  as  she  went  into  her  trance,  or 
whatever  it  was,  Spencer  Lee's  spirit  tried  to  talk 
to  us. 

DONOHUE.  She  began  to  give  you  messages  from 
Spencer  Lee  without  knowing  that  this  was  what 
you  were  trying  to  get  ? 

MASON.  (In  triumph)  Exactly.  And  there's 
no  use  in  trying  to  tell  me  that  there's  nothing  in 
spiritualism,  because  now  I  know  better. 

DONOHUE.  Thank  you  very  much,  Mr.  Mason. 
What  you've  told  me  is  extremely  important.  I'm 
anxious  to  know  what  was  said,  because  I'm  a  good 
deal  interested  in  the  Spencer  Lee  case  myself. 

(MRS.  TRENT  turns  and  faces  door,  still  sitting  in 
her  chair.) 

MASON.  Then  you  think  there's  something  in  this 
spiritualism  ?  I  never  did  until  to-day,  but,  by  Jove, 
you  know  you  can't  expalin  this  any  other  way. 

DONOHUE.  Madame  La  Grange  went  into  a 
trance.  We'll  grant  that  much,  anyway.  What  hap 
pened  then? 

CROSBY.  After  a  few  minutes  she  began  talking 
to  us  in  the  voice  of  a  little  child. 

ROSALIE.  That  was  Laughing  Eyes,  me  spirit 
control. 

DONOHUE.    Just  what  did  Laughing  Eyes  say? 

CROSBY.  It  was  all  mixed  up;  none  of  it  very 
clear.  But  she  seemed  to  be  trying  to  talk  for  some 
one  to  someone.  She  kept  call'ng  for  Ned.  Then 


THE  THIRTEENTH  CHAIR  65 

suddenly    she    spoke    deeply,    in    a    man's    voice. 

DONOHUE.  Did  the  man's  message  have  any  im 
portance?  I  mean,  did  it  seem  to  make  sense? 

CROSBY.  It  was  perfectly  coherent,  at  any  rate. 
I  can't  give  you  the  exact  words,  but 

MASON.  (Interrupting)  I  can.  He  said,  "Ned, 
I  want  Ned.  Why  in  hell  don't  Ned  answer  me?" 

DONOHUE.  (ALL  seated  in  circle  except  DONO 
HUE,  who  is  standing  at  lower  end  of  table  R.J  And 
did  anyone  answer? 

CROSBY.     Eventually  Wales  replied. 

DONOHUE.  I  want  you  all  to  be  extremely  care- 
lul  in  what  you  tell  me.  I  don't  want  any  surmises. 
In  the  first  place,  did  the  message  come  for  anyone 
but  Mr.  Wales? 

CROSBY.  There  was  at  no  time  the  mention  of 
Wales'  name.  The  calls  were  always  for  "Ned." 

DONOHUE.  I  see.  Did  anyone  else  answer  the 
calls? 

STANDISH.  7  asked  two  or  three  questions,  but 
no  attention  was  paid  to  them. 

DONOHUE.     What  did  Mr.  Wales  say  to  all  this? 

CROSBY.  I  don't  think  Mr.  Wales  spoke  at  all 
until  the  message  about  saving  his  life  came. 

DONOHUE.     And  after  that? 

Miss  EASTWOOD.  There  was  a  regular  conver 
sation  between  them. 

CROSBY.  (MRS.  TRENT  puts  handkerchief  on  lips) 
Then  there  was  some  mention  about  some  letters. 
I  remember,  too,  that  Mr.  Wales  said,  "Are  you  try 
ing  to  tell  me  who  killed  you  ?" 

DONOHUE.     What  was  the  reply  to  that? 

MRS.  CROSBY.  All  we  got  were  the  words,  "ASK 
—ask— ask." 

CROSBY.  And  then  I  said,  "Do  you  know  who 
killed  you?" 

DONOHUE.     Did  you  get  an  answer? 


66  THE  THIRTEENTH  CHAIR 

CROSBY.  Not  directly.  The  message  was  an 
other  cry  for  "Ned." 

DONOHUE.     What  happened  then? 

CROSBY.  Then  Mr.  Wales  said,  "Do  you  know 
who  killed  you?" 

DONOHUE.     (Eagerly)    What  answer  did  he  get  ? 

CROSBY.  None.  The  medium  began  to  moan  and 
cry.  Then  Mr.  Wales  asked  her  again  and  again 
for  the  name.  He  kept  crying,  "Tell  me  who  killed 
you,  I  want  the  name."  He  must  have  asked  her 
two  or  three  times.  Then  he  cried  out  that  he  was 
hurt. 

DONOHUE.    And  then? 

CROSBY.     That's  all. 

(Enter  DUNN  from  door  "L.) 

DUNN.     The  matron  is  here  now,  sir. 

DONOHUE.  Just  a  minute.  Just  one  more  ques 
tion,  Mr.  Crosby.  Did  you  get  the  impression  that 
if  Mr.  Wales  had  not  been  killed,  his  question  would 
have  been  answered? 

CROSBY.  If  you  grant  that  the  seance  was  real, 
it  would  be  impossible  to  arrive  at  any  other  con 
clusion. 

DONOHUE.  It  was  well  established  in  your  mind 
that  Wales  was  the  only  person  able  to  get  a  mes 
sage? 

CROSBY.    Yes. 

DONOHUE.  It  follows  then  that  he  was  killed  in 
order  to  prevent  his  question  being  answered. 

CROSBY.    That's  the  impression  I  got. 

DONOHUE.  This  leads  to  the  conclusion  that  who 
ever  killed  Wales  knew  who  had  killed  Spencer 
Lee. 

CROSBY.  (Still  seated  in  circle)  I  should  think 
so. 

DONOHUE.    (Front  of  table  R.J     And  it  is  not 


THE  THIRTEENTH  CHAIR  67 

difficult  to  surmise  that  the  person  who  killed  Wales 
was  actuated  by  the  strongest  of  all  motives — self- 
protection.  So  in  all  human  probability  the  mur 
derer  of  Wales  was  also  the  murderer  of  Spencer 
Lee.  You  see,  ladies  and  gentlemen,  that  by  the  use 
of  a  little  patience  we  have  come  a  long  way  in  our 
investigation.  (There  is  a  long  pause)  I  don't  wish 
to  put  you  all  through  the  humiliation  of  a  search. 
I  should  like  to  end  this  inquiry  here  and  now. 
(Breaks  a  step  R.  There  is  another  pause)  No? 
Then  we'll  have  to  go  on.  (Moves  briskly — below 
table  R.)  There  is  a  police  matron  in  the  other  room 
who  will  search  the  ladies  of  the  party.  Sergeant 
Dunn  will  perform  a  similar  duty  with  the  men. 
Mike,  you  will  take  them  one  at  a  time.  It  makes 
no  difference  to  me  in  what  order  they  go. 

MASON.  Well,  I've  got  nothing  to  conceal.  (He 
rises  and  places  chair  up  L.,  then  to  door  L.) 

ROSALIE.  Me  neither.  (She  rises  and  crosses 
down  c.) 

DONOHUE.  I'd  rather  you  waited  for  a  few  min 
utes,  Madame  La  Grange.  ( ROSALIE  looks  at  him 
sharply)  Any  of  the  other  ladies  will  do. 

MRS.  CROSBY.  Suppose  I  set  the  others  a  good 
example  ?  (Rises,) 

DONOHUE.  Thank  you  very  much.  (He  looks  at 
the  others,  where  they  are  still  seated)  And  thank 
you  for  the  great  help  you've  given  me.  You  need 
not  sit  there  any  longer — fMRS.  CROSBY  comes  down 
c.,  then  crosses  to  door  L.J — unless  you  wish. 

fMiss  STANDISH  crosses  R.  back  of  table  R.  MRS. 
CROSBY,  MASON,  and  SERGEANT  DUNN  exit  L. 
DUNN  closes  door  on  his  exit.  HELEN  goes  up 
c. — TRENT  crosses  one  chair  up  L.  of  door  L.C., 
then  one  chair  R.  of  door  L.C.,  right  back  of  set 
tee  c.  Miss  ERSKINE  crosses  to  back  of  table 


68  THE  THIRTEENTH  CHAIR 

R.     MRS.  TRENT  seated  R.C.    WILL  in  front  of 
settee  c.) 

Miss  EASTWOOD.  (Crossing  to  DONOHUE  Rj 
Inspector,  I  think  you're  perfectly  wonderful. 

DONOHUE.  Oh,  we  haven't  done  very  much  yet, 
Miss  Eastwood.  Give  the  police  a  little  time.  (He 
turns  and  crosses  to  L.C.  L.  with  an  abrupt  change  of 
tone)  Madame  La  Grange,  there's  a  question  I  wish 
to  ask  you. 

ROSALIE.  (Coming  down  to  L.C.^  Anythin*  at 
all,  sor. 

DONOHUE.  (L.C.)  When  Mr.  Wales  asked  you 
for  the  name,  why  didn't  you  answer  him  ? 

ROSALIE.  I  don't  know,  sor.  I  was  in  a  trance. 
(Down  L.) 

DONOHUE.     Then  you  didn't  hear  the  question? 

ROSALIE.     How  could  I? 

DONOHUE.  I  didn't  ask  you  that.  I  want  to  know 
why  you  didn't  answer  him. 

ROSALIE.  I've  already  told  you,  I  was  in  a  trance. 
I  didn't  know  what  was  going  on. 

DONOHUE.  Why  didn't  you  tell  the  name  that 
you  had  agreed  with  Wales  you  would  tell? 

ROSALIE.     (L.C.,  astonished)    Agreed? 

DONOHUE.  You  heard  what  I  said.  (There  is  a 
pause)  Well,  why  didn't  you  carry  out  your  part 
of  the  bargain?  f  CROSBY  crosses  back  of  settee  to 
c.,  front  of  settee)  Why  didn't  you  give  him  the 
name  as  you'd  planned  ? 

ROSALIE.     I  don't  know  what  ye  mean. 

DONOHUE.  My  words  are  perfectly  plain.  I 
asked  you  why  you  didn't  carry  out  your  part  of  the 
bargain  ? 

ROSALIE.     There  wasn't  any  bargain ! 

DONOHUE.  Your  whole  seance  was  a  fake. 
(Slight  movement  from  OTHERS,)  It  was  not  only 
planned  but  rehearsed  between  you  and  Wales.  He 


THE  THIRTEENTH  CHAIR  69 

thought  that  a  woman  had  killed  his  friend.  He 
told  you  about  it,  and  asked  your  help  to  discover 
the  murderer. 

ROSALIE.  Sure,  I  don't  know  what  ye're  talking 
about  at  all. 

DONOHUE.  (Ignoring  her  reply)  Every  detail 
of  this  seance  was  planned.  When  he  asked  you  the 
name  you  were  to  tell  him  the  name  of  a  woman. 

("MRS.  TRENT  crosses  up  R.  and  joins  TRENT  and 
ERSKINE  at  table  R.j 

ROSALIE.  So  help  me,  Inspector,  I  never  heard  a 
word  of  this  before. 

DONOHUE.     Not  a  word  ? 

ROSALIE.     So  help  me,  not  a  word. 

DONOHUE.  (L.C.  Taking  paper  out  of  the  inside 
pocket  of  his  coat,  and  reading  aloud)  "What  do 
you  want?  Answer.  Don't  forget  the  swimming 
pool.  Don't  ever  forget  the  swimming  pool.  Do 
you  mean  the  time  he  went  in  after  me  when  we 
were  little  boys?  Spencer  Lee  says  he  can't  rest." 
And  so  on  and  so  on,  down  to — "Do  you  know  who 
killed  you?"  (He  turns  to  the  OTHERS)  The  an 
swer  to  that  should  have  been  "yes."  What  did  she 
say? 

CROSBY.  (In  front  of  table  R.)  She  didn't  an 
swer  that  question. 

DONOHUE.  (He  looks  at  paper  again.  L.cJ  The 
next  question  is,  "Can  you  tell  the  name?"  And 
then  she  was  to  have  told  that  woman's  name.  Just 
the  first  name.  Mr.  Crosby,  what  did  she  reply  to 
that  question? 

CROSBY.     She  moaned  and  cried. 

DONOHUE.     What  did  she  say  after  that? 

CROSBY.  Nothing.  She  moaned  again  and  came 
out  of  so-called  trance. 

DONOHUE.     Why  didn't  you  do  as  you  agreed? 


70  THE  THIRTEENTH  CHAIR 

ROSALIE.  (Down  L.C.L.  side  of  DONOHUE  Ston 
ily)  I  don't  know  what  you're  talking-  about. 

DONOHUE.  The  police  know  that  some  woman 
killed  Spencer  Lee.  Something  was  taken  from  the 
inside  pocket  of  his  vest.  We  think  it  was  a  pack 
age  of  letters.  This  woman  left  traces.  We  have 
her  fingerprints — many  of  them.  Eventually  we'll 
find  her.  For  three  or  four  weeks  Mr.  Wales  has 
been  working  among  the  people  who  knew  Lee.  His 
theory  was  that  this  woman  wanted  to  get  back  her 
letters — in  fact,  did  get  them  back.  He  felt  reason 
ably  sure  that  he  had  found  the  woman.  That  one 
of  you  ladies  here  to-night  is  probably  the  woman 
we  are  hunting.  He  thought  that  he  could  play  on 
her  superstitious  fears,  and  that  when  her  name 
seemingly  came  from  the  spirit  of  the  dead  man 
she  would  confess.  He  told  Madame  La  Grange 
the  name,  explained  to  her  just  what  he  wanted, 
and  together  he  and  I  worked  out  the  exact  wording 
of  the  messages  that  were  supposed  to  come  from 
Spencer  Lee's  spirit.  (He  turns  suddenly  to  ROSA 
LIE,  zvho  is  down  L.C.)  You  agreed  to  all  this ;  why 
didn't  you  speak  the  name  ? 

ROSALIE.  I  don't  know  anything  about  it  He — 
he  must  have  forgotten  to  tell  it  to  me. 

DONOHUE.     Oh,  no,  he  didn't. 

(EASTWOOD  down  in  front  of  table  R.) 

ROSALIE.  (With  great  decision)  There  was  no 
name.  He  didn't  tell  me  any  name. 

DONOHUE.  My  good  woman,  you  mustn't  take 
me  for  a  fool.  You  agreed  to  use  a  certain  name ; 
you  came  here  for  that  purpose,  and  then  after  you 
got  here  something  happened  to  make  you  change 
your  plans.  Something  unexpected  happened.  (He 
stops  for  a  moment — turns  to  Miss  EASTWOOD  J 
Miss  Eastwood,  what  did  you  say  was  your  first 
name  ? 


THE  THIRTEENTH  CHAIR  71 

Miss  EASTWOOD.     Mary. 

DONOHUE.     (To  Miss  ERSKINE^)     And  yours? 

Miss  ERSKINE.     (Back  of  table  R.j    Elizabeth. 

DONOHUE.     Yours  ? 

Miss  STANDISH.     Grace. 

DONOHUE.     Mr.  Crosby,  your  wife's  given  name 

CROSBY.    Alicia. 

DONOHUE.     Mrs.  Trent? 

MRS.  TRENT.     (R.C.)    Helen. 

DONOHUE.     Miss  O'Neill? 

HELEN.  (Up  c.)  Helen.  (There  is  a  long 
pause.) 

DONOHUE.  ("L.C.  WILL  comes  to  HELEN  c.) 
Helen,  I  see.  So  there  are  two  Helens.  Two  Hel 
ens.  (He  stands  looking  first  at  one  and  then  at  the 
other  of  the  two  women)  Mr.  Crosby,  when 
Madame  La  Grange  first  came  to-night  did  she  show 
any  surprise  at  seeing  any  of  the  people  here? 

CROSBY.     (R.C.)    Not  that  I  noticed. 

Miss  EASTWOOD.  (Below  table  R.J  Oh,  yes,  she 
did.  Miss  O'Neill  wasn't  in  the  room  when  she  ar 
rived.  Later  when  she  came  in  the  old  woman 
seemed  upset.  She  said  something  to  her  that  none 
of  us  could  hear.  Then  I  remember  she  argued  with 
Mr.  Wales  and  said  she  didn't  feel  like  having  a 
seance. 

DONOHUE.  Now  we're  getting  it.  (WILL  stands 
R.  of  Miss  O'NEILL  up  c.)  Everything  was  going 
along  smoothly,  until  Miss  O'Neill  came  in.  The 
extra  Helen.  (He  turns  to  CROSBY,)  Mr.  Crosby, 
your  daughter  was  in  the  room  when  Madame  La 
Grange  came  in? 

CROSBY.     Yes. 

DONOHUE.  You  noticed  nothing  unusual  in  this 
woman's  manner? 

CROSBY.     I'd  never  seen  her  before. 

DONOHUE.     I  mean  she  did  nothing  to  attract  your 


72  THE  THIRTEENTH  CHAIR 

attention;  the  fact  that  Helen  Trent  was  in  the 
room  made  no  impression  on  her? 

CROSBY.     Seemingly  not. 

DONOHUE.  Then  Helen  O'Neill  came  in.  (Goes 
up  to  HELEN  cv  then  crosses  to  ROSALIE  L.  He 
turns  sharply  to  ROSALIE  down  L.j  Rosalie  La 
Grange,  what's  that  girl  to  you? 

ROSALIE.     Nothin'  at  all. 

DONOHUE.  (c.)  Nothing  at  all !  Then  why  did 
you  try  to  deceive  me  as  to  where  she  sat?  Why 
did  you  place  her  so  that  I  would  not  know  she  was 
sitting  next  to  Mr.  Wales  when  he  was  stabbed? 

ROSALIE.  It  was  just  a  mistake.  I  didn't  go  for 
to  do  it. 

DONOHUE.  I'm  afraid  that  won't  do.  It's  per 
fectly  apparent  that  the  name  you  were  to  speak 
was — Helen.  (He  turns  to  ROSALIE  L.J  What's 
the  use  of  lying  to  me?  You've  tried  your  best  to 
shield  this  girl.  I  want  to  know  why. 

ROSALIE.  There's  no  reason.  I  never  saw  the 
young  lady  before  in  all  my  life. 

DONOHUE.     What's  that  girl  to  you? 

ROSALIE.     Nothin',  nothin'  at  all 

DONOHUE.  (Starts  to  ROSALIEJ  Damn  you, 
you  old  harridan,  you  come  across 

Miss  O'NEILL  (Springing  forward  from  up  R.c. 
down  to  LV  throwing  DONOHUE  up  stage)  Let  my 
mother  alone,  let  my  mother  alone !  (Then  she  goes 
to  ROSALIE,  puts  arms  around  her. — Pause. — ROSA 
LIE  weeps.) 

DONOHUE.  (Very  quietly)  I  thought  perhaps 
I'd  get  it  that  way. 

HELEN  O'NEILL.  (Getting  L.  side  of  ROSALIE,) 
There,  there,  dear,  it's  all  right,  it's  all  right. 

DONOHUE.  (With  a  grim  smile,  coming  down  c.) 
Of  course,  it's  all  right!  We've  got  the  finger 
prints  and — 

WILL.     (Interrupting  him— crosses  down  to  c.) 


THE  THIRTEENTH  CHAIR  73 

If  you  think  for  one  minute  I'm  going  to  let  you 

CROSBY.  My  son,  wait — (Grabbing  him  and  pin 
ning  down  his  arms  to  sides  c.) — think  what 

WILL.  Think  nothing.  (He  shakes  himself  free 
and  goes  to  DONOHUE  L.c.j  That's  the  girl  I  love, 
and  I'll  be  damned  if  I  let  you  take  her  finger  prints. 

DONOHUE.  Young  man,  don't  be  a  fool.  I'm 
sorry,  but  it's  too  clear. 

ROSALIE.  (Breaking  away  from  her  daughter  to 
DONOHUE  c.  of  L.cJ  Clear!  Glory  be  to  God,  how 
can  it  be  clear?  Inspector,  you're  never  goin'  to 
accuse  me  little  girl  of  a  thing  like  that? 

DONOHUE.  (c.)  She  was  next  to  him;  she  had 
only  to  free  one  hand,  and  strike  and  then  take  his 
hand  again ! 

ROSALIE.  There  was  something  else  she  had  to 
do  before  she  could  ever  do  that.  She  had  to  have 
murder  in  her  heart. 

DONOHUE.     (c.)    Well  ? 

ROSALIE.  (Turns  suddenly,  seizes  her  daughter, 
who  is  L.  of  DONOHUE,  by  the  hand,  turns  her  to 
him. — ROSALIE  stays  between  DONOHUE  and  HELENJ 
Look  at  her.  Look  in  the  eyes  of  her,  at  the  face 
of  her.  Is  there  murder  there?  Man,  man,  haven't 
ye  got  eyes  in  yer  head  ? 

(DuNN  enters  from  L.J 

DUNN.     It's  not  on  either  of  them. 

DONOHUE.  I  know  where  it  is.  Tell  the  matron 
she'll  find  the  knife  on  this  girl. 

ROSALIE.  (To  DONOHUE  c.)  Inspector,  for 
Gawd's  sake,  don't  do  it!  I'll  tell  you  anything  I 
know,  only  keep  your  hands  off  me  little  girl.  I  did 
come  here  like  you  say,  and  whin  I  seen  me  own 
child  I  lost  me  head.  I'm  a  poor  old  woman  that 
ain't  got  any  sense.  I  tried  to  save  her  and  I  only 
made  matters  worse.  You've  looked  at  her,  the  poor 


74  THE  THIRTEENTH  CHAIR 

young  thing-  that  wouldn't  harm  a  fly,  and  you  think 
she  could  do  a  thing  like  that  ?  ' 

DONOHUE.     Yes. 

ROSALIE.  (Still  crying  bitterly)  Thin  Tim  Dono- 
hue,  you're  a  damn  fool,  and  God  helpin'  me,  I'll 
prove  ut. 

CURTAIN 


ACT  III 

SCENE  :  The  eight  small  chairs  that  were  brought 
on  in  the  First  Act,  are  taken  off  stage.  The  big 
armchair  that  ROSALIE  sat  in  has  been  taken  up 
the  left  corner  of  set.  Table  has  been  moved 
up  and  on  stage  about  a  foot.  The  knife  that 
is  to  fall  on  given  cue  has  been  placed  in  slot 
in  ceiling.  The  window  blind  is  pulled  down, 
the  curtains  on  window  are  opened.  Armchair 
back  of  table  right.  Chair  below  table  right. 
Chair  above  table  right.  Settee  has  been  moved 
down  stage  centre  about  a  foot.  Shelf  back  of 
settee  has  been  fixed  for  WALES  to  lie  on.  Con 
sole  table  back  in  its  original  position,  right  end 
of  settee  centre.  Chairs  with  upholstered  seat 
put  back  to  left  side  of  fireplace.  Line  hung 
off  stage  back  of  fireplace  for  policeman's  en 
trance.  Bright  amber  lights  in  entrance  down 
left.  Lamps  with  blue  mediums  at  window 
LIT.  Spot  outside  of  window  right  ready  for 
cue.  Lights  on  set  out.  Door  down  left,  which 
is  open. 

Be  sure  to  clear  table  R.c.  for  knife. 

DISCOVERED  :     ROSALIE  by  table  over  right. 

ROSALIE.  Father  in  Heaven,  help  me.  Me  Nel 
ly's  in  trouble,  terrible  trouble,  and  there  ain't  any 
wan  to  help  her  but  me.  She's  a  good  girl — you 
know  all  things,  you  know  she's  a  good  girl.  Show 
me  the  way.  Sure,  I  been  a  fakir  all  my  life.  I've 
tricked  'em  and  fooled  'em,  but  honest,  I  never 

75 


76  THE  THIRTEENTH  CHAIR 

meant  to  harm  a  soul,  I  never  knowingly  done  harm 
to  any  wan.  And  there  is  a  power.  It's  come  to  me 
before,  a  way  of  knowin',  that  I  couldn't  under 
stand.  I  felt  it,  and  I  showed  it.  Oh,  God,  give  it 
to  me  again.  Do  this  for  my  little  girl,  for  the  sake 
of  your  Son.  Amen. 

(Turns  and  goes  up  stage  to  the  window  at  R.  She 
pulls  up  the  shade  and  raises  the  window.  The 
light  comes  up  from  the  street  lamp,  throwing 
out  her  figure  in  strong  silhouette,  and  show 
ing  a  square  patch  of  light  on  the  ceiling. 
In  the  center  of  this  patch,  sticking  point  up 
in  the  heavy  wooden  paneling,  can  be  seen  the 
knife.  ROSALIE  stands  for  a  few  moments  look 
ing  out  at  the  night.  DONOHUE  enters  down  L. 
As  he  does  so,  he  turns  on  the  lights  from  the 
switch  below  the  door  down  L.  Lights  in  room 
on.  Spot  outside  of  window — OUT.) 

DONOHUE.  (Crosses  to  L.c.J  Who  turned  off 
the  lights  ? 

ROSALIE.     (At  window  R.)    I  did,  sor. 

DONOHUE.     Why  ? 

ROSALIE.  I  was  prayin'.  (Coming  to  above 
table  R.) 

DONOHUE.     Praying?    What  for? 

ROSALIE.     Guidance. 

DONOHUE.     (With  a  laugh)     I  hope  you  get  it. 

ROSALIE.  (With  conviction)  I  will,  sor,  I  will. 
(She  starts  toward  the  door  L.)  I'll  be  joinin'  the 
others  now. 

DONOHUE.  I  think  you'd  better  wait.  (Calls  off 
-L.)  Mike.  ("ROSALIE  cj 

("DUNN  enters  from  L.J 
DUNN.     Yes,  Inspector? 


THE  THIRTEENTH  CHAIR  77 

DONOHUE.  Did  Madame  La  Grange  see  you  as 
she  came  in  here  ? 

DUNN.  (Down  L.)  No,  sir.  I  followed  your 
instructions  and  kept  out  of  sight. 

DONOHUE.     How  long  has  she  been  here?    (L,C.) 

DUNN.     About  ten  minutes. 

DONOHUE.  Time  enough  for  her  to  find  what  we 
couldn't. 

DUNN.     I'll  bet  she's  got  it. 

DONOHUE.  Take  her  to  Mrs.  MacPherson.  She's 
not  to  go  near  anyone  or  speak  to  anyone.  Tell 
Mrs.  Mac  to  search  her.  (He  turns  to  ROSALIE, 
who  is  c.)  Unless,  of  course,  you  want  to  give  up 
that  knife  now. 

ROSALIE.  I've  got  no  knife,  and  I've  been 
.  searched  once. 

DONOHUE.  (L.C.)  Exactly,  and  then  you  were 
allowed  to  come  back  into  this  room.  We're  rather 
anxious  to  see  what  you've  found  while  you  were 
inhere.  Well? 

ROSALIE.  I  found  nothing  that  ud  be  any  good 
to  you. 

DONOHUE.  I'm  the  best  judge  of  that.  What 
was  it  you  found? 

ROSALIE.  A  sort  of  comfort,  sor.  A  feelin'  that 
the  innocent  would  come  to  no  harm. 

DONOHUE.  (Dryly)  Take  her  to  Mrs.  Mac 
Pherson.  Come  back  as  soon  as  you  turn  her  over 
to  the  matron. 

DUNN.  Yes,  Inspector.  Come  on — come  on, 
you. 

ROSALIE.     (Crossing  L.J     I'm  coming! 

(They  exit.    He  stands  looking  after  them  for  count 
of  five  when  DUNN  re-enters  and  says.) 

DUNN.     (Above  door  L.)     Mrs.  Mac's  got  her. 
DONOHUE.     (To  DUNNJ      She  turned  out  that 


78  THE  THIRTEENTH  CHAIR 

light.     I  wonder  why?    What  did  she  want  in  the 
dark? 

(He  goes  over  toward  the  light  switch  at  L.  and  puts 
out  his  hand.  He  stops  suddenly  as  his  atten 
tion  is  attracted  by  a  policeman  coming  feet 
foremost  down  the  chimney.  DONOHUE  gives 
a  little  start  and  then  comes  L.C.  The  Police 
man  jumps  down  all  the  way  in  fireplace,  and 
comes  into  the  room  to  console  table  L.  end  of 
settee.  His  uniform  is  covered  with  soot,  and 
so  are  his  face  and  hands.  DUNN  goes  down  L. 
below  door.) 

DUNN.  I  sent  him  to  see  if  they'd  hidden  that 
knife  up  there? 

DONOHUE.  Good.  (To  POLICEMAN  J  Find  any 
thing  ? 

POLICEMAN.  Nothing  but  dirt.  Who  pays  for 
this  uniform? 

DONOHUE.  You  don't,  anyway.  Could  you  hear 
anything  while  you  were  up  there? 

POLICEMAN.     Not  a  thing. 

DONOHUE.     You  are  sure? 

POLICEMAN.     Certain. 

DONOHUE.     Go  take  a  bath. 

POLICEMAN.  Tain't  Saturday.  (He  exits  at  L. 
DONOHUE  crosses  R.  Pause.) 

DUNN.  (Down  L.  After  a  pause)  Don't  it  beat 
hell? 

DONOHUE.     Why  ? 

DUNN.     That  knife  couldn't  have  flew  away. 

DONOHUE.  (Coming  c.)  We'll  find  it  eventually. 
It's  in  this  room  somewhere. 

DUNN.     No,  sir,  it  ain't. 

DONOHUE.     Where  have  you  looked? 

DUNN.     Everywhere. 

DONOHUE.     Not  hidden  in  the  furniture? 


THE  THIRTEENTH  CHAIR  79 

DUNN.  I'll  gamble  it  ain't.  Took  up  all  the  rugs, 
shook  'em.  Dug  through  the  upholstery  in  the  fur 
niture,  looked  back  of  mat  on  the  wall.  It's  not  in 
the  bric-a-brac  or  whatever  these  swells  call  their 
jugs. 

(DONOHUE  crosses  to  table  R.J 

DONOHUE.  CR.C.J  Unless  we  find  it  on  the  old 
woman,  it's  still  in  this  room. 

DUNN.  I  suppose  you  noticed  that  she  opened 
the  window? 

DONOHUE.  (Upper  end  of  table  R.j  Yes,  I  no 
ticed  that.  Mike,  you've  the  makings  of  a  great 
detective. 

DUNN.     I'm  a  darned  good  detective  now. 

('DONOHUE  goes  to  window  at  R.  and  calls  out.) 

DONOHUE.     Say,  Doolan!     See  anything? 

DOOLAN.  (Outside  window  R.J  An  old  woman 
put  up  the  window  just  now.  She  stood  there  a 
while  looking  up  in  the  air — (Pause) — watching  the 
stars,  I  guess. 

DONOHUE.     Have  anything  in  her  hand? 

DOOLAN.  No,  sir.  The  light  from  this  lamp  was 
shinin'  right  on  her.  I  could  see  everything. 

DONOHUE.     Throw  anything  out  of  the  window? 

DOOLAN.     No,  Inspector. 

DONOHUE.  All  right.  You're  to  arrest  anyone 
leaving  the  house. 

DOOLAN.     I  gotcha. 

(DONOHUE  comes  below  table  R.,  turns  to  DUNN. 
Crosses  to  L.cJ 

DONOHUE.  We'll  find  the  knife  eventually. 
We've  got  to.  Get  me  Mr.  Crosby  and  the  O'Neill 


8o  THE  THIRTEENTH  CHAIR 

girl  —  that's  the  order  I  want  to  see  them  in  here. 


exits  L.  DONOHUE  crosses  up  R.  end  of  set- 
tee  to  chest  up  RV  starts  to  cross  L.  below  settee. 
—  CROSBY  closes  door,  enters  down  L.  —  DONO 
HUE  comes  down  to  c.  —  R.  end  of  settee.) 

CROSBY.  (To  L.cJ  Your  man  told  me  to  come 
here. 

DONOHUE.  Yes.  Sorry  to  have  to  give  orders 
in  your  house.  If  you  don't  like  it  I  can  take  every 
one  down  to  Police  Headquarters.  You  know  what 
will  happen  —  what  the  newspapers  will  do  if  I  take 
all  these  ladies  and  gentlemen  down  town.  In  the 
end  this  way  will  be  the  best  for  you  and  your 
friends.  Well,  how  about  it? 

CROSBY.  (L.C.)  Thank  you.  I  think  you'd  bet 
ter  regard  this  house  as  your  own  for  the  present. 

DONOHUE.  (c.)  All  right.  If  you  don't  mind 
I'll  use  this  room  as  a  headquarters  for  the  present. 

CROSBY.  I  have  already  told  you  to  use  this 
house  as  your  own. 

DONOHUE.     Thank  you.     Good  evening. 

CROSBY.     (With  a  laugh)     I'm  dismissed? 

DONOHUE.  You're  dismissed.  ("CROSBY  walks 
toward  door  L.)  Why  did  Wales  object  to  the  en 
gagement  of  your  son  and  Helen  O'Neill? 

CROSBY.  (Turns  to  DONOHUE,)  Who  told  you 
that  ?  (~R.  a  few  steps.) 

DONOHUE.  It  doesn't  matter.  I  know  that  he 
did.  Why? 

CROSBY.     I  can't  talk  about  it.     (Turns  front.) 

DONOHUE.  (c.)  All  right.  You're  the  best 
judge  of  that.  Only  I'm  attaching  a  great  deal  of 
importance  to  this  fact.  If  I'm  unduly  emphasizing 
its  value,  don't  you  think  you'd  better  set  me  straight 
about  it? 


THE  THIRTEENTH  CHAIR  81 

CROSBY.    What    possible    bearing    can    it    have 

DONOHUE.     Motive,  my  dear  sir,  motive. 

CROSBY.  Come  now — you  can't  think  that  this 
girl  killed  Wales  because  she  heard  him  ask  us  to 
wait  before  we  sanctioned  her  engagement  to  my 
son. 

DONOHUE.  She  did  hear  Mr.  Wales  make  that 
objection?  That's  just  what  I  wanted  to  know. 

CROSBY.  (L.)  I  think  I'd  better  send  for  my 
lawyer. 

DONOHUE.  (c.)  Well,  you  can  do  as  you  like 
about  that.  Frankly,  I  don't  understand  your  atti 
tude  at  all.  I  can  appreciate  your  desire  to  spare 
your  son  all  the  unhappiness  that  you  can.  But  if 
this  young  woman  killed  Wales  and  Lee,  the  sooner 
we  find  it  out  the  better  for  you  and  your  family. 

CROSBY.  Oddly  enough,  I  was  thinking  only  of 
Miss  O'Neill  at  the  moment. 

DONOHUE.  You'd  better  think  of  yourself  and 
your  family  first.  (Crosses  R.  a  few  steps.) 

READY  KNOCK 

CROSBY.  That's  for  me  to  decide,  sir.  I  certainly 
am  not  going  to  allow  that  child  to  be  bullied  and 
badgered  in  the  usual  police  fashion.  (Crosses  R. 
a  step.) 

DONOHUE.  You're  going  to  do  as  you  are  told, 
sir.  If  you  warn  that  girl,  if  you  caution  her  in  any 
way,  I'll  drag  everyone  of  you  down  town.  You 
and  your  wife  and  your  son  and  the  girl  and  all 
your  friends.  Be  reasonable,  Mr.  Crosby.  If  the 
girl  is  innocent,  telling  me  the  truth  won't  hurt  her. 
If  she's  guilty,  and  I  think  she  is,  by  God,  I'm  going 
to  drag  the  truth  out  of  her  and  her  mother.  (Knock 
on  the  door  down  L.J  Come  in. 

HELEN.     (Enters  L.)    You  wanted  me? 

DONOHUE.     Yes,  come  in.    Sit  down,  please.    (In- 


82  THE  THIRTEENTH  CHAIR 

dicating     table     below     R. — HELEN     sits. — CROSBY 
starts  R.J 

CROSBY.     Helen. 

DONOHUE.  What  you  are  planning  to  dp,  Mr. 
Crosby,  will  only  make  matters  worse,  I  promise  you 
that.  (After  a  moment's  pause  CROSBY  exits  at  L. 
and  leaves  door  open.  DONOHUE  turns,  closes  door 
and  turns  sharply  to  HELEN — crosses  to  table  R.J 
Now  then,  young  woman,  let's  hear  what  you've  got 
to  say. 

HELEN.     Nothing. 

DONOHUE.  (c.)  Nothing.  I  don't  suppose  it's 
necessary  for  me  to  tell  you  that  you're  under  grave 
suspicion. 

HELEN.     No,  I  realize  that. 

DONOHUE.  Now  the  best  way  to  hielp  yourself 
if  you're  innocent  is  to  be  quite  frank  with  me. 
(She  simply  looks  at  him,  but  does  not  speak)  Well  ? 

HELEN.  I've  already  told  you  that  there  is  noth 
ing  that  I  can  say. 

DONOHUE.  Someone  has  advised  you  not  to  an 
swer  me.  Who  was  it  ?  (There  is  a  pause)  You'd 
better  tell  me.  (Crosses  R.cJ 

HELEN.  I  am  not  going  to  answer  any  of  your 
questions. 

DONOHUE.  I  told  you  that  if  you  were  innocent, 
nothing  that  you  could  say  would  hurt  you.  If 
you're  guilty — well,  that's  a  different  matter. 

HELEN.     You  know  that  I  didn't  do  it. 

DONOHUE.  (In  front  of  table  R.J  Well,  there 
you  are.  Why  not  answer  my  questions,  then? 
The  sooner  we  find  out  who  is  guilty  the  sooner 
you'll  be  freed  from  suspicion.  You  see  that,  don't 
you? 

HELEN.     Yes. 

DONOHUE.  (Brings  chair  and  sits  in  front  of 
table  R.)  Now  we're  getting  along.  How  well  did 
you  know  Spencer  Lee?  ^HELEN  does  not  answer 


THE  THIRTEENTH  CHAIR  83 

him — looking  front)  You'd  better  make  up  your 
mind  to  talk.  Do  you  hear?  ( HELEN  does  not 
speak.  Losing  his  temper)  Why,  you  little  fool, 
do  you  think  you  can  fight  me?  (He  turns  sharply 
to  face  her,  turning  his  back  on  the  door  at  L.)  You 
were  the  last  person  to  see  Spencer  Lee  alive.  Yes, 
and  you  saw  him  dead,  too.  You  heard  Wales 
threaten  to  tell  these  fine  people  what  he  knew  about 
you ;  you  knew  he'd  prevent  your  marriage  to  this 
young  millionaire,  and  then — ("ROSALIE  enters  quietly 
from  L.  and  stands  for  a  moment  watching  them) — 
when  your  chance  came  in  the  dark,  you  killed  him. 
Now  then,  you  come  across  with  the  truth. 

ROSALIE.  She'll  come  across  with  nothin*. 
(Crosses  R.  to  table.  DONOHUE  rises  and  stands  by 
table  R.C.  HELEN  rises)  Ye  said  she  was  the  wan 
that  did  ut  and  ye'd  find  the  knife  on  her.  Well,  ye 
didn't,  did  ye?  Ye  think  she's  the  wan  that  killed 
Spencer  Lee? 

DONOHUE.     Yes. 

ROSALIE.  Well,  she  ain't.  Ye  say  ye  got  the 
finger  prints  of  the  girl  that  was  in  his  rooms — 
now  take  Nelly's,  then.  Take  hers  and  put  'em 
alongside  of  the  others,  bad  cess  to  you,  and  then 
ye'll  see.  I  dare  ye  do  that. 

HELEN.  (With  a  cry)  Mother!  (She  stops 
suddenly.) 

DONOHUE.     What  were  you  going  to  say? 

HELEN.  Nothing.  (She  creeps  over  to  R.  side 
of  her  mother.  ROSALIE  puts  her  arms  about  the 
girl) 

(DuNN  enters  with  box  and  envelope.) 

DONOHUE.     That's  very  wise  of  you. 
DUNN.     Got  it,  Inspector.     (Crosses  to  c.) 
DONOHUE.     (Down  R.)     Do  they  compare? 
DUNN.     To  a  T. 


84  THE  THIRTEENTH  CHAIR 

(ROSALIE  c.,  HELEN  down  R.     DONOHUE  in  front 
of  table  between  HELEN  and  ROSALIE,  j 

DONOHUE.  All  right.  Let  me  have  'em.  Now 
ask  Mr.  Crosby  and  his  son  to  come  here  at  once. 
(DuNN  turns  and  exits  at  L.  DONOHUE  up  c., 
crosses  to  back  of  table  R.j  I  already  have  your 
daughter's  fingerprints,  Madame  La  Grange. 

ROSALIE.     Have  ye,  now?    It's  smart  ye  are. 

(HELEN  crosses  to  ROSALIE  R.C.  ROSALIE  swings 
HELEN  L.  of  her.  When  DONOHUE  opens  box- 
back  of  table,  CROSBY  and  WILL  enter  from  LV 
accompanied  by  DUNN.,) 

DONOHUE.  That's  all,  Mike.  (DuNN  exits  at  L., 
closes  door  doivn  L.  CROSBY  L.  of  HELEN.  WILL 
L.  of  CROSBY,)  Mr.  Crosby,  I  told  you  that  I'd  settle 
this  case  in  a  few  minutes.  The  end  has  come 
sooner  than  I  thought.  I  am  now  ready  to  make 
an  arrest.  I  have  sent  for  you  and  your  son  be 
cause (He  suddenly  turns  toward  HELENA 

This  is  the  woman  we  have  been  hunting. 

ROSALIE.  That's  a  lie !  (R.  end  of  settee — WILL 
to  HELEN. ) 

DONOHUE.  (Picking  up  cup  and  holding  it  out 
toward  them)  Here  is  the  cup — (CROSBY  crosses 
down  R.  to  below  table — moves  chair  over  R.J — • 
which  we  took  from  Spencer  Lee's  rooms.  These 
are  the  fingerprints  of  the  woman  who  used  it.  (Ig 
noring  CROSBY  for  the  moment)  Here  is  the  saucer 
that  she  used.  More  fingerprints.  A  few  minutes 
ago  I  sent  this  young  woman  a  note.  The  man  who 
gave  it  to  her  wore  gloves,  so  did  I  when  I  ad 
dressed  the  envelope.  Hers  are  the  only  naked 
hands  that  have  touched  it.  (He  picks  up  the  en 
velope  gingerly  by  one  corner,  and  holds  it  outward 
to  them)  They  are  unquestionably  Helen  O'Neill's 


THE  THIRTEENTH  CHAIR  85 

fingerprints.  ^HELEN  in  WILL'S  arms.  DONOHUE 
puts  down  the  envelope.  Then  he  picks  up  the  cup 
and  points  to  the  fingermarks  on  it)  And  so,  Mr. 
Crosby,  are  these.  There  can  be  no  doubt  about  it. 
There  is  never  any  doubt  about  this  method  of  iden 
tification.  In  twenty  years  there  has  never  been  one 
mistake.  We  now  have  what  we've  been  hunting 
for.  The  woman  who  went  to  Spencer  Lee's  rooms. 
(DoNOHUE  steps  back  with  a  little  gesture  of 
triumph.  CROSBY  stands  staring  at  the  girl.  ROSA 
LIE  comes  to  R.  of  HELEN,  turns  to  her.) 

ROSALIE,  (c.)  Look  at  me,  me  dear.  Look  at 
your  old  mother.  (She  takes  HELEN'S  face  in  her 
hands  and  looks  at  her  closely.  Then,  with  a  little 
cry  of  contentment,  stands  R.  of  HELEN.  ROSALIE 
and  HELEN  back  up  to  settee)  Now,  me  dear,  ye 
mustn't  be  frightened.  Look  up,  child.  Why  don't 
ye  say  somethin'? 

HELEN.     I  can't.     (Sits  on  settee.) 

(DONOHUE  gives  a  short  laugh.) 

DONOHUE.     What  can  she  say? 

WILL.     (Going  to  her)     Dear,  tell  him  it's  a  lie. 

CROSBY.  (Crosses  to  HELEN,  at  settee)  Wait. 
Let  me  talk  to  her.  ("CROSBY  comes  over  to  HELEN 
and  sits  beside  her  on  the  sofa,  R.  side.  WILL  at 
settee  L.  end)  My  dear,  you  understand  that  none 
of  us  believe — what  the  Inspector  wants  us  to  be 
lieve.  We  know  that  you  have  never  done  anything 
—that  you  are  no  more  guilty  of  this  atrocious  crime 
than  I  am.  We  all  want  to  help  you.  You  under 
stand  that,  don't  you  ? 

HELEN.     Yes. 

WILL.     I  won't  have  this. 

CROSBY.  I'm  afraid  you  must,  son.  (He  turns 
again  to  HELEN)  We  want  to  help  you,  so,  my 
dear,  you  must  be  perfectly  frank  with  us.  Inspec- 


86  THE  THIRTEENTH  CHAIR 

tor  Donohue  says  he  can  prove  that  you  went  to 
that  man's  rooms.    Is  that  true? 

HELEN.     (Slowly  and  reluctantly)     Yes. 

( DONOHUE  gives  short  laugh.    Sits  back  of  table  R.j 

ROSALIE.  An'  what  if  she  did? — She  had  a  good 
errant. — What  did  ye  go  for,  darlin'? 

HELEN.     I  can't  tell  you. 

WILL.  Dear,  you  must  tell  us.  (She  looks  at 
him  suddenly.  He  comes  over  and  kneels  beside  her 
and  talks  to  her  as  if  to  a  little  child)  My  dear,  it 
isn't  that  we  don't  trust  you.  Surely  you  know  how 
we  all  love  you.  But  we  must  know  the  truth — 
(Strong) — because  we  have  to  show  him  how  wrong 
he  is. 

DONOHUE.  (Seated  back  of  table  R.J  Yes,  and 
I'm  waiting  to  be  shown. 

WILL.  (Kneeling  L.  of  HELEN  by  settee)  Why 
did  you  go  to  Spencer  Lee? 

HELEN.  (Sitting  on  settee)  You  mustn't  ask 
me  that.  I  can't  tell  you. 

CROSBY.  (Still  on  settee)  But  if  you  don't  tell 
us,  how  can  we  help  you  ? 

HELEN.  I  didn't  do  anything.  I  didn't  do  any 
thing. 

CROSBY.  We  know  that,  my  child.  But  why  did 
you  go  ?  fHELEN  does  not  answer)  Did  you  know 
Spencer  Lee? 

WILL.     Of  course  she  didn't. 

DONOHUE.  (Seated  back  of  table  R.j  Why 
don't  she  speak  for  herself? 

WILL.     Because  I'll  speak  for  her. 

CROSBY.     Can't  you  answer  even  that  question? 

shakes  her  head  and  makes  a  despairing 
gesture.) 


THE  THIRTEENTH  CHAIR  87 

WILL.  But,  dear,  don't  you  see  what  they'll 
think  ?  Helen,  you  must  tell  me. 

HELEN.  Could  I  speak  to  mother,  alone? 
(Rises.) 

DONOHUE.     You  cannot. 

(CROSBY  and  WILL  rise,  cross  to  c.    CROSBY  crosses 
to  L.  end  of  settee.) 

ROSALIE.  (R.  end  of  settee)  Where's  the  harm 
in  that  ?  Sure,  a  child's  the  right  to  talk  to  her  own 
mother  any  time  she  wants. 

DONOHUE.  Anything  you  wish  to  say,  you  can 
say  in  front  of  me. 

ROSALIE.  (Coming  to  HELEN  c.)  Sure,  darlin', 
ye  needn't  mind  the  nice  Inspector.  Don't  I  well 
know  that  there  was  never  anything  in  your  mind 
that  ye  couldn't  say  before  all  the  world?  (There 
is  a  pause)  Tell  yer  old  mother,  me  dear. 

(CROSBY  c.    WILL  standing-  below  him  c.) 

HELEN.     (Beginning  to  cry)    I  can't.    I  can't. 

ROSALIE,  (c.)  Stop,  there's  been  cryin'  enough. 
I  lost  me  head  through  that  and  me  fears.  Stop 
cryin'  or  I'll  give  ye  what  for.  (She,  too,  begins  to 
cry  and  takes  her  daughter  in  her  arms  again) 
There,  there,  me  dear.  Sure,  yer  old  mother  ain't 
going  to  let  anyone  hurt  ye.  Not  anyone  at  all. 
(They  cry  together  for  a  moment  and  then  ROSALIE 
gets  her  self-control  back.  She  blows  her  nose  vig 
orously)  We'll  both  be  the  better  for  that.  Now 
then,  tell  me. 

HELEN.     Mother,  I  can't. 

ROSALIE.  (R.C.)  Who  did  ye  promise  ye 
wouldn't  ? 

HELEN.     (Surprised)     Why,  how  did  you 

ROSALIE.     She's  shieldin'  someone. 


88  THE  THIRTEENTH  CHAIR 

HELEN.     No.    No. 

ROSALIE.  And  that's  the  first  He  ye  ever  told, 
and  I  know  it.  I  want  to  know  who  ye're  shieldin'  ? 
('HELEN  does  not  answer.  ROSALIE  suddenly  turns 
to  WILL)  Is  she  your  girl  ? 

WILL.     Yes.    (L.C.) 

ROSALIE.     Then  make  her  tell. 

WILL.     (To  HELEN  c .)    Nell,  dear,  you  must 

HELEN.     Billy,  I  can't. 

CROSBY.  (Drops  down  L.  of  group)  My  dear, 
even  if  you're  protecting  someone  else,  I  think  you 
ought  to  tell  us. 

HELEN.  (With  a  sudden  outburst)  Why  are 
you  all  against  me  ?  Why  are  you  all  trying  to  make 

me  break  my (To  R.  end  of  settee.  WILL 

comes  to  her.  CROSBY  L.C.) 

ROSALIE.  (Interrupting  HELEN,  coming  to  R.c.J 
Break  yer  word,  is  ut?  Ye  should  not.  Sure,  there 
never  was  an  O'Neill  in  the  world  that  was  an  in 
former.  Ye  needn't  tell.  Sure,  I  know  it  meself 
now.  'Tis  blind  I've  been.  (She  turns  suddenly  on 
the  INSPECTOR — to  down  table  R.  above  him)  Ye're 
the  one  that  found  out  there  was  two  Helens.  The 
extra  Helen,  says  you.  Well,  send  for  the  other 
Helen  and  ask  her. 

HELEN.     Mother,  stop! 

ROSALIE.     Stop,  is  ut?    Sure,  I  will  not. 

CROSBY,  (c.)  Wait,  please.  Is  it  my  daughter 
you're  protecting?  f HELEN  does  not  answer)  Be 
cause  if  it  is — much  as  we  love  her,  my  dear,  we 
can't  accept  that  sacrifice  from  you.  I'm  her  father, 
and  you  must  tell  me  the  truth.  Did  my  daughter 
send  you?  (There  is  a  long  pause)  Did  you  go 
for  my  daughter? 

HELEN.     (Slowly)    Yes. 

ROSALIE.     I  knew  ut.    (Above  table  Rj 

CROSBY.     My  daughter  sent. you.    What  for? 

HELEN.     (R.C.)    Some  letters. 


THE  THIRTEENTH  CHAIR  89 

WILL.  (In  front  of  settee  c.j  Why  didn't  she 
go  herself? 

HELEN.     She  was  afraid. 

DONOHUE.  (Still  seated  back  of  table  R.J  Well, 
go  on.  CHELEN  does  not  speak.) 

WILL.     (R.C.)     Tell  him,  dear,  it's  all  right 

HELEN.     I  don't  know  what  to  say. 

DONOHUE.  Why  not  tell  the  truth?  (Rises  to 
chair  belozv  table  R.J 

ROSALIE.  Tell  the  Inspector  what  happened, 
dearie.  (Putting  HELEN  in  chair  front  of  table  s..) 

HELEN.  Nothing  happened.  That's  the  funny 
part  of  it.  The  minute  Mr.  Lee  understood  that  I 
knew  about  the  letters,  everything  was  changed.  I 
said  that  unless  he  gave  them  to  me  I'd  tell  Mr. 
Crosby  about  them.  He  seemed  terribly  upset.  He 
said  he  hadn't  meant  to  frighten  Helen.  That  he 
loved  her,  and  was  desperate.  I  thought  it  was  a 
funny  kind  of  love,  but  I  didn't  tell  him  that.  Then 
he  gave  me  the  letters. 

DONOHUE.  Was  this  before  or  after  you  had  tea 
with  him  ? 

HELEN.     Before. 

DONOHUE.     Go  on.    He  gave  you  the  letters. 

HELEN.  (Seated  in  front  of  table  R.)  Yes.  And 
he  seemed  terribly  unhappy.  He  begged  me  to  stay 
and  talk  to  him  for  a  few  minutes,  and  I  did.  He 
asked  me  to  have  some  tea  with  him*  and  I  did  that, 
too. 

DONOHUE.  How  charming!  What  did  you  do 
after  tea? 

(ROSALIE  back  of  chair,  front  of  table.) 

HELEN.  I  came  home  and  gave  Helen  her  let 
ters. 

DONOHUE.     And  that's  all  ? 
HELEN.    That's  all.    (Saucy.) 


90  THE  THIRTEENTH  CHAIR 

DONOHUE.     Why  did  you  do  this  ? 

HELEN.  (Seated  front  of  table  R.)  She's  Bil 
ly's  sister. 

DONOHUE.  My  compliments,  young  woman. 
That  was  beautifully  done.  And  she  looks  so  in 
nocent,  too. 

WILL.     You  don't  believe (c.) 

DONOHUE.  Not  a  word  of  it.  Not  one  word. 
(Rises.) 

ROSALIE.     And  why  not? 

DONOHUE.  That  I  don't  is  sufficient.  Her  story 
is  preposterous.  Your  daughter's 

WILL.     It's  the  truth. 

DONOHUE.  Do  you  expect  me  to  believe  for  a 
minute  that  a  man  like  Lee  would  threaten  your 
daughter,  and  then  when  a  total  stranger  comes  to 
him  and  asks  for  the  letters,  give  them  up  without  a 
word?  Why,  no  jury  in  the  world  would  believe 
your  story. 

WILL.     Jury?     You're  not  going  to  arrest  her? 

DONOHUE.     She  is  arrested. 

ROSALIE.     Ye  got  no  proof. 

DONOHUE.  (Below  table  R.j  All  the  proof  that 
I  need.  If  she  was  innocent,  why  didn't  she  tell  me 
all  this  when  I  first  questioned  her?  Why  did  she 
wait  until  she  knew  that  I  had  proof — that  she  had 
been  in  Spencer  Lee's  rooms? 

WILL.     She  was  protecting  my  sister. 

DONOHUE.     Women  don't  hang  together  like  that. 

ROSALIE.  (Upper  end  of  table  R.j  Sure  they 
do.  The  poor  creatures. 

DONOHUE.  (Down  R.)  They  do  not.  I  know 
them.  (He  turns  to  WILL )  She  wasn't  protecting 
your  sister.  She  was  protecting  herself.  She  went 
for  the  letters,  of  course;  and  they  had  tea  before 
she  asked  for  them,  not  afterwards. 

CROSBY.  (R.C.  to  L.  of  WILL,)  How  do  you  know 
that? 


THE  THIRTEENTH  CHAIR  91 

DONOHUE.  She  couldn't  take  tea  with  a  man 
she's  just  killed. 

WILL.     Why,  damn  you (Starts  R.) 

CROSBY.     (Grabbing  WILL  by  shoulders)     Billy! 

WILL.  (Breaks  up  stage  a  few  steps,  then  down 
stage  again)  I'm  sorry.  I  didn't  mean  to  lose  my 
temper.  I  suppose  we've  got  to  take  this  thing 
calmly.  Inspector,  you  honestly  believe  that  Nelly 
killed  this  man? 

DONOHUE.     Yes. 

WILL.     Why  should  she? 

DONOHUE.  She  was  engaged  to  you — he  had 
compromising  letters  she  had  written  to  him — he  was 
threatening  her  with  exposure — she  went  to  get  her 
letters.  They  had  tea  together — she's  admitted  that, 
after  we  proved  it,  and  then  when  he  wouldn't  give 
up  her  letters,  she  killed  him.  So  much  for  the  first 
murder.  (Turns  away)  Now  for  the  second:  she 
was  sitting  next  to  Wales ;  he  had  already  threatened 
her  with  exposure;  in  another  minute,  the  medium 
would  have  told  her  name  as  that  of  the  person  who 
had  been  at  Spencer  Lee's  rooms.  She  pulled  her 
hand  away  from  his,  struck,  and  took  his  hand 
again.  '(There  is  a  pause)  Young  man,  you'll 
have  a  hard  time  tearing  apart  that  chain  of  evi 
dence. 

ROSALIE.  Barrin'  the  fact  that  she  niver  wrote 
the  man  a  letter  in  her  loife,  'tis  a  grand  case  ye 
got. 

WILL.  (Down  c.  a  step.  CROSBY  goes  above 
WILL  c.)  Of  course.  Dad,  we've  lost  our  brains. 
She  didn't  go  for  her  own  letters.  fWiLL  turns  to 
the  INSPECTOR,)  You  were  talking  of  juries.  Do 
you  think  any  jury  will  believe  that  a  young  girl 
would  kill  a  man  to  get  back  another  woman's  let 
ters  for  her?  (He  starts  toward  door  L.) 

CROSBY.     Where  are  you  going? 

WILL.     To  get  my  sister. 


92  THE  THIRTEENTH  CHAIR 

DONOHUE.  Wait.  (WiLL  stops)  I'll  send  for 
Mrs.  Trent. 

WILL.     (Crosses  L.c.j    But  I  want  to  ask  her 

DONOHUE.  (Interrupts  him)  I'll  ask  my  own 
questions.  If  you  want  to  help  this  investigation, 
you  might  call  Sergeant  Dunn  for  me. 

fWiLL  opens  door  at  L.) 

WILL.  (Crosses  to  c.)  Sergeant  Dunn,  the  In 
spector  wants  you.  (He  turns  back  to  the  girl  and 
DUNN  enters  L.) 

DONOHUE.  Ask  Mrs.  Trent  to  come  here. 
(DuNN  exits  at  L.  ROSALIE  R.  end  of  settee. 
HELEN  in  chair  in  front  of  table  R.  WILL  c.  CROSBY 
walks  up  LV  then  back  to  L.C.  DONOHUE  below  the 
table,  looking  at  them  with  a  grim  smile.  After  a 
pause  of  ten  counts,  MRS.  TRENT  and  TRENT  enter 
from  L.,  folloived  by  DUNN,  who  stands  below  the 
door)  I  sent  for  Mrs.  Trent. 

TRENT.  I  know  that.  What  do  you  want  to  see 
her  about?  (L.C.) 

DONOHUE.  Mrs.  Trent,  did  you  ask  this  girl  to 
go  to  Spencer  Lee's  rooms  to  get  letters  you  had 
written  to  him  ? 

TRENT.     (L.  of  MRS.  TRENT,)    Did  she  what? 

DONOHUE.     Did  you,  Mrs.  Trent? 

MRS.  TRENT.     (L.C.)     Certainly  not. 

HELEN.  Why (Rises  from  chair  in  front 

of  table  R.) 

DONOHUE.  (Sternly)  Keep  still,  you.  (To 
MRS.  TRENT)  Are  you  sure? 

TRENT.  (L.  of  MRS.  TRENT)  Of  course  she's 
sure. 

DONOHUE.  Mr.  Trent,  you  must  stop  these  in 
terruptions.  (To  MRS.  TRENT)  Will  you  please 
answer  my  question? 

MRS.  TRENT.     I  never  wrote  a  letter  to  Spencer 


THE  THIRTEENTH  CHAIR  93 

Lee  in  my  life.  (She  suddenly  turns  to  HELEN ) 
How  dare  you  say  I  sent  you  there? 

HELEN.     You  did!    You  did!     (Front  of  table.) 

MRS.  TRENT.  (Down  L.C.)  I  don't  know  what 
she's  told  you,  Inspector,  but— 

DONOHUE.  Never  mind  what  she  told  me.  I 
want  to  be  very  sure  of  this.  You  did  not  ask  this 
girl  to  go  to  Spencer  Lee's  rooms  ? 

MRS.  TRENT.     No. 

DONOHUE.  (Down  R.)  He  had  no  letters  of 
yours  ? 

MRS.  TRENT.     (L.C.)    No. 

DONOHUE.  Do  you  know  whether  this  girl  had 
written  to  him  ? 

MRS.  TRENT.     I  don't  know  anything  about  it. 

WILL.  (Coming  L.  of  MRS.  TRENT.  CROSBY  to 
c.)  But  Nell  didn't  know  Lee,  and  Helen,  you  did. 

DONOHUE.  (Still  down  R.)  How  about  that, 
Mrs.  Trent? 

MRS.  TRENT.  I  hadn't  seen  Mr.  Lee  in  two  or 
three  years.  He  used  to  come  here  a  good  deal. 
He  wanted  to  marry  me,  but  I  didn't  like  him.  And 
I  certainly  never  wrote  him  letters  of  any  sort.  That 
is  all  I  can  tell  you. 

DONOHUE.  Thank  you  very  much.  That  is  all 
that  I  want  to  know. 

WILL.  (Turning  on  his  sister)  You're  lying  to 
save  yourself.  You've  got  to  tell  the  truth. 

TRENT.     She  is  telling  you  the  truth. 

WILL.     She's  not. 

CROSBY.  (After  a  pause,  putting  his  hand  on  his 
son's  shoulder)  I'm  sorry,  Billy. 

('WILL  goes  up  to  settee  c.,  sits.     CROSBY  looks 
coldly  at  HELEN  and  turns  to  his  daughter.) 

MRS.  TRENT.     Father,  you  know  that 


94  THE  THIRTEENTH  CHAIR 

CROSBY.  Yes,  dear—I  know.  Inspector,  do  you 
want  us  any  more  ? 

DONOHUE.     Not  any  more,  thank  you 

CROSBY.  Come  then,  children (He  exits 

with  MR.  and  MRS.  TRENT  down  L.  HELEN  still 
in  front  of  table  R.J 

DONOHUE.  (As  the  door  closes.  Crosses  L.  to 
L.c.J  Mike,  take  her  down  town. 

ROSALIE,  (c.)  I  wouldn't  if  I  was  you.  In 
spector,  I  know  who  done  it.  fWiLL  rises.) 

DONOHUE.  (Turning  to  ROSALIE  c.)  You  know 
— who  was  it? 

ROSALIE.  I  can't  tell  you  yet.  (DONOHUE  laughs. 
WILL  R.C.  Crosses  to  HELENA  But  I  will.  I  will ! 

DONOHUE.  Tellin's  not  enough.  There's  just 
one  thing  that  will  convince  me  that  she  didn't  kill 
Spencer  Lee. 

WILL.     (Down  R.)    What,  Inspector,  what? 

DONOHUE.  The  confession  of  the  one  who  did. 
(He  turns  to  ROSALIE,)  Bring  me  that  and  I'll  set 
your  daughter  free. 

ROSALIE,  (c.)  Inspector,  give  me  a  chance. 
Don't  arrest  me  little  girl.  Give  me  time.  I  know 
who  done  it  and  I'll  get  ye  what  ye  want. 

DONOHUE.     (L.C.)    Nonsense. 

ROSALIE.  (Crosses  L.  to  INSPECTOR,)  Give  me  an 
hour,  sor,  keep  them  all  here  an  hour  more. 

('WILL  crosses  down  R.  to  HELEN.,) 

DONOHUE.     No. 

WILL.  (WILL  and  HELEN  in  front  of  table  R.) 
Give  her  a  chance.  We're  all  here — no  one  will  get 
away.  What  difference  will  a  few  minutes  make? 

(There  is  a  pause.    DONOHUE  takes  out  his  watch 
and  looks  at  it.) 


THE  THIRTEENTH  CHAIR  95 

DONOHUE.  I'll  give  her  ten  minutes,  Mike.  Tell 
Doolan  again  to  arrest  anyone  trying  to  leave  the 
house  and  get  on  the  front  door  yourself  and  stay 
there  until  I  tell  you.  (DuNN  turns  and  exits  at  Lj 
You've  got  just  ten  minutes.  (He  follows  DUNN 

offL.) 

ROSALIE.  Ten  minutes.  Ten  minutes.  (WILL 
crosses  to  door  L.  and  closes  door.) 

WILL.     (L.cJ     Why  didn't  you  tell  who  did  it? 

ROSALIE,  (c.)  How  could  I?  Sure,  I  got  no 
idea  in  the  world.  But  I'm  goin'  to  find  out.  I'm 
goin'  to  find  out. 

HELEN.  (R.C.)  But  how,  Mother,  how  ?  (HELEN 
starts  L.J 

ROSALIE.  Call  them  back.  Make  them  all  come, 
too.  I  want  them  all.  (HELEN  runs  off  L.)  Sir, 
run  down  in  the  hall.  Do  you  know  which  is  Mr. 
Wales'  overcoat  ? 

WILL.     Yes,  I  think  so. 

ROSALIE.  See  if  you  can  find  me  a  glove  or  some 
thing  of  his — and  hurry.  (WILL  runs  off  L.  ROSA 
LIE  stands  in  thought  for  a  moment — puts  chair  c. 
facing  up  stage.  WILL  runs  on  again  and  hands  her 
a  glove)  Did  you  get  it? 

WILL.     (L.C.)     What  are  you  going  to  do? 

ROSALIE.  (L.C.)  Trick  'em.  Lie  to  'em.  It's 
for  Nelly,  do  you  blame  me  ? 

WILL.     What  can  I  do  to  help? 

ROSALIE.  Glory  be!  It's  a  man  after  me  own 
heart.  I'm  going  to  do  something  to  put  the  fear  of 
God  into  the  heart  of  that  murderer.  Don't  pay  no 
attention  to  me.  Watch  them.  Don't  look  at  me, 
don't  take  your  eyes  off  them.  I'm  looking  for  one 
of  them  to  do  something  that  will  show  us  the  way. 
It's  our  only  chance. 

(HELEN  runs  in  at  i,.) 


96  THE  THIRTEENTH  CHAIR 

HELEN.     They're  coming. 

ROSALIE.  Leave  the  door  open  so  we  can  hear 
'em.  fHELEN  does  so  and  returns  to  her  mother, 
standing  L.  of  ROSALIE,)  Child,  kiss  me  fer  luck 
(They  kiss)  It'll  do  no  harm  to  kiss  him,  too. 
(They  kiss)  Now  son,  can  ye  lie? 

WILL     Can  I! 

ROSALIE,  (c.)  Here's  the  talk  you're  to  make 
when  they  come  in.  I'm  goin'  in  a  trance.  You'll 
tell  'em  that  I  asked  fer  Mr.  Wales'  glove  and  the 
minute  I  got  it  in  my  hand,  I  went  off  like  they  see 
me.  Tell  'em  ye  thought  maybe  there  might  be 
some  reason  for  it.  And  then  leave  the  rest  to  me. 

READY  VO ICE 

WILL.     I  understand. 

ROSALIE.  You  stand  here  back  of  me.  I  want 
them  all  in  front  of  me.  fWiLL  crosses  back  of 
ROSALIE  to  R.  side  of  ROSALIE'S  chair.  HELEN 
crosses  R.  of  ROSALIE  above  her)  Nelly,  stand  close 
by  me.  Go  further  back.  (Ready  VOICE.  HELEN 
moves  to  R.  of  ROSALIEJ  That's  right.  Now  don't 
you  move  from  there.  This'll  be  the  realest  trance 
ye  ever  saw,  and  the  grandest  fake.  When  I  come 
out,  make  Jem  go  away,  tell  'em  you're  afraid  it'll 
kill  me  to  see  anyone,  just  then. 

VOICES  OFF  LEFT 

(She  suddenly  stiffens  in  her  chair.  Lying  rigid 
with  her  head  thrown  back  on  the  headrest,  and 
the  hand  in  which  she  is  holding  WALES'  glove 
stretched  out  straight  in  front  of  her.  Enter 
down  L.,  CROSBY,  Miss  EASTWOOD,  STANDISH, 
TRENT,  MRS.  CROSBY,  MRS.  TRENT  and  Miss 
STANDISH.  ) 

CROSBY.  (Crossing  to  up  L.cJ  What  is  it, 
Billy? 


THE  THIRTEENTH  CHAIR  97 

fMiss  EASTWOOD  L.  side  of  ROSALIE'S  chair,  MRS. 
TRENT  and  MRS.  CROSBY  L.  of  settee  c.;  TRENT 
Miss  ERSKINE  and  STANDISH  lower  L.  end  of 
settee.) 

STANDISH.     What's  happened? 

WILL.  (R.  side  of  ROSALIE'S  chair)  I  don't 
know,  exactly.  We  were  talking  about  this  awful 
thing.  She  knew,  of  course,  that  her  daughter 
couldn't  have  done  it,  and  she  asked  me  to  get  her 
something  that  had  belonged  to  poor  Wales.  I  got 
a  glove  out  of  Wales'  overcoat  pocket  and  handed 
it  to  her,  and  then  all  of  a  sudden  she  went  stiff  like 
that.  I  don't  know  what  it  means. 

(The  OTHERS  draw  closer  to  ROSALIE.  WILL  and 
HELEN  on  the  R.  side  of  ROSALIE'S  chair.  Miss 
EASTWOOD  comes  to  ROSALIE  and  lays  her  hand 
on  her  forehead.) 

Miss  EASTWOOD.     She's  like  ice,  she's  not 

(Breaking  up  c.  a  few  steps.) 
HELEN.     Oh,  no,  it's  a  trance. 

^MASON  enters  L.  down  Lj 

MASON.     I  wouldn't  touch  her  if  I  were  you. 

ROSALIE.  (Sitting  in  chair  R.C.  Speaking  as 
Laughing  Eyes)  Hello,  everybody.  What  you  all 
so  solemn  about,  anyway?  I've  got  a  message 
from  a  new  friend.  He  don't  want  me  to  send  it 
— he  wants  to  talk ;  ha,  ha,  ha,  he  thinks  he  can 
talk,  and  he's  only  been  here  a  little  while.  (Still 
speaking  as  Laughing  Eyes)  He  says  you're  all 
fools.  It's  so  plain,  so  plain.  He's  looking  right 
at  the  one  who  did  it,  right  straight  at  the  one  who 
did  it.  (^WALES'  voice.) 

WALES'  VOICE.     I'm  coming  to  you  until  you  tell. 


98  THE  THIRTEENTH  CHAIR 

I  can't  speak  names.  You've  got  to  tell.  I'm  com 
ing,  again  and  again  and  again,  until  you  tell.  Find 
the  knife.  You  must  find  the  knife.  The  marks 
will  show.  The  marks  will  show. 

(Miss  EASTWOOD  shrieks  and  faints  on  L.  end  of 
settee.  MASON  is  below  end  of  settee  looking 
at  her.  WILL  is  standing  R.  side  and  back  of 
ROSALIE,  looking  eagerly  about  him.  HELEN 
turns  and  looks  at  Miss  EASTWOOD,  MRS.  CROS 
BY  goes  to  Miss  EASTWOOD  on  settee.) 

MASON.  This  has  got  to  stop.  (Starts  to  ROSA 
LIE'S  chair — L.  side  of  it.) 

HELEN.  (R.  side  of  RORALEI'S  chair)  You 
mustn't  touch  her. 

MASON.  It's  all  right  as  far  as  the  men  are  con 
cerned,  but  look  at  that  girl.  (He  points  to  Miss 
EASTWOOD  on  the  settee)  They'll  all  be  fainting  if 
this  isn't  stopped.  (TRENT  goes  to  ROSALIE.^ 

WALES'  VOICE.  Trent,  let  the  medium  alone.  Do 
you  understand?  Let  the  medium  alone. 

TRENT.  That's  Wales'  voice — and  Wales  is 
dead. 

(MASON  crosses  slowly  to  ROSALIE'S  chair.  TRENT 
crosses  L.  above  MASON  to  STANDISH — ROSA 
LIE  begins  to  mutter  and  moan.  Suddenly  she 
brings  her  hands  together,  and  then  throws  her 
arms  wide  apart.  WALES'  glove  sails  out  of  her 
hand,  and  strikes  MASON  on  the  face.  It  falls 
to  the  floor.  STANDISH  exits  very  quietly  door 
down  L.  MASON  picks  glove  up — holding  it  in 
his  hand — looks  at  it — suddenly  drops  it  to  the 
floor — turns  to  MRS.  CROSBY.,) 

MASON.  Mrs.  Crosby,  shall  I  take  Miss  East 
wood  to  your  room  for  you? 


THE  THIRTEENTH  CHAIR  99 

MRS.  CROSBY.     Yes,  please,  Phillip. 

fMiss  ERSKINE  crosses  to  door  L.  MASON  assists 
Miss  EASTWOOD  near  seat  and  helps  her  from 
the  room,  exiting  door  down  L.  MRS.  CROSBY 
exits  door  L.  TRENT  wipes  his  hands  with 
handkerchief.  ROSALIE  stirs  uneasily  and 
moans.) 

HELEN.  (Standing  R.  side  of  ROSALIE'S  chair) 
Please  leave  her  to  me.  I'm  afraid  seeing  you  all 

here  will  trouble  her.  I'm  afraid  she'll Oh, 

won't  you  please  go?  (The  OTHERS  turn  and  go 
to  door  down  L. — exit.) 

CROSBY.  (Below  L.  end  of  settee)  Let  me  know 
if  there's  anything  I  can  do. 

HELEN.  (  ROSALIE  moans  again)  Yes,  yes. 
Only  please  go  now. 

^CROSBY  exits  door  L.  WILL  runs  quickly  to  the 
door  at  L.  and  closes  it  and  turns  to  ROSALIE, 
who  is  sitting  up  in  her  chair.) 

ROSALIE.     (Rises  and  crosses  a  step  R.J     Well? 

HELEN.  (R.C.)  It  was  the  Eastwood  girl.  Her 
face  was  terrible.  I  was  glad  when  she  fainted. 

WILL.  (L.C.)  I  think  you're  wrong.  Standish 
ran  away.  He  couldn't  bear  it. 

ROSALIE.  And  that's  all  ye  saw?  I  told  ye  to 
use  the  brains  that  was  back  of  yer  eyes. 

WILL.  Well,  of  course,  there  was  Trent.  You 
can't  mean  Trent?  Why,  he's  the  kindest  man  in 
the  world.  (There  is  a  pause)  The  letters.  If  he's 

known  the  truth  about  the  letters (Breaks  L. 

a  step.) 

HELEN.  (Coming  down  to  L.  of  Ros ALIENS  chair 
and  picking  up  glove)  Mother,  why  did  you  throw 
that  glove  at  Mason  ? 


ioo          THE  THIRTEENTH  CHAIR 

ROSALIE.  Did  it  hit  him  ?  Well,  well,  well.  Any 
how  it  was  a  good  seance. 

fWiLL  takes  chair  up  L.    ROSALIE  crosses  down  R.c. ) 

HELEN.  (L.  side  of  ROSALIE,)  Mother,  you  know 
— you've  found  out  ? 

('WILL  takes  ROSALIE'S  chair  up  to  door  R.C.  and 
comes  down  to  L.  of  ROSALIE.J 

ROSALIE.  Sure,  it's  wan  thing  to  know  and  an 
other  to  prove. 

HELEN.     (L.  of  ROSALIE )     Mother,  who  was  it? 

ROSALIE.  Child,  child,  do  ye  think  it's  a  game 
we're  playin'?  I  got  two  or  three  minutes.  What 
I've  got  to  do  I've  got  to  do  quickly. 

READY  KNOCK 

HELEN.     But  what,  Mother,  what? 

ROSALIE.  I  don't  know,  I  don't  know.  Child,  if 
you  don't  get  away  from  me  you'll  drive  me  mad. 

READY  KNOCK 

WILL.     But  can't  we 

ROSALIE.  This  is  no  work  for  children.  Leave 
me  be  and  leave  me  think.  fWiLL,  and  HELEN  run 
off  door  L. — closing  door)  He'll  never  break  in  the 
world.  Never  in  all  this  world.  (L.C.  Half  in 
thought)  Sure,  Laughing  Eyes,  you're  no  good  to 
me  in  the  world.  We've  faked  all  our  lives,  and  now 
when  I  want  the  real  thing  I  get  nothing  at  all.  If 
I  could  find  the  knife,  sure,  there'd  be  marks  av  a 
hand  on  that.  But  it's  gone.  It's  gone.  I  can't 
let  him  get  away  with  it.  I  want  a  sign.  I  want  a 
sign.  Laughing  Eyes,  are  we  goin'  to  be  beaten  by 
a  schemin',  cold-hearted  murderer?  (Knock  twice 
on  table  outside  door  down  LV  then  count  of  five, 
rap  twice  more.  Ready  lights.  ROSALIE  starts, 
looks  hastily  around  the  room)  I  didn't  do  that. 


THE  THIRTEENTH  CHAIR          101 

I  didn't  do  that.  (She  lifts  her  skirt  and  sees  that 
her  feet  are  still  in  her  shoes.  It's  come !  After  all 
the  years,  a  real  message.  A  real  message.  I'll  take 
it  in  the  dark,  believin'  and  trustin'  that  I'm  to  be 
shown.  (Lights  out.  Crosses  down  to  door  L. — 
pushes  light  switch.  All  lights  in  room  out.  The 
spot  from  the  window  shines  on  the  -ceiling,  is  bril 
liantly  illuminating  the  knife.  ROSALIE  crosses  to 
chair  c.)  Laughing  Eyes,  have  you  a  message  for 
me?  (She  looks  up  at  knife  in  ceiling)  Look  at  it! 
Glory  be  to  God.  The  knife ! 

(The  door  at  L.  opens.  POLLOCK  stands  in  the  door 
way.  He  sees  that  the  tights  are  out  and  turns 
them  on.  Then  he  sees  ROSALIE,  who  is  stand 
ing  c.,  facing  front  as  in  a  trance.) 

LIGHTS  ON 

POLLOCK.  Excuse  me,  Madam.  I  knocked  twice, 
but  you  didn't  hear  me. 

ROSALIE.  I  heard  ye.  It  was  a  message  just  the 
same. 

POLLOCK.  The  Inspector  says  have  you  got  any 
thing  you  want  to  tell  him?  ( ROSALIE  stands  lost 
in  thought.  POLLOCK  looks  at  her  for  a  moment  and 
then  nervously  begins  to  set  the  chair  below  table 
up  R.  corner  of  set.  He  notices  that  the  window 
blind  is  up,  goes  over  and  pulls  it  down  and  draws 
the  curtains.  He  then  comes  back  to  ROSALIE  above 
table  R.)  The  Inspector  says  have  you  got  any 
thing  you  want  to  tell  him? 

(ROSALIE  crosses  down  R.  in  front  of  table.    DONO- 
HUE  enters  from  L.) 

DONOHUE.  (Crosses  to  c.)  Time's  about  up. 
(He  laughs)  Well? 

ROSALIE.  (Below  table  R.J  I  want  them  all  here. 
All  of  them.  Every  one. 


102          THE  THIRTEENTH  CHAIR 

DONOHUE.     What  for? 

ROSALIE.  You're  going  to  hear  the  murderer  con 
fess. 

DONOHUE.  Pollock,  ask  Mr.  Crosby  to  bring 
everyone  here.  (Crosses  R.  to  above  table.) 

POLLOCK.  Very  good,  sir.  (He  exits  L.  DONO 
HUE  takes  out  his  watch  and  stands  with  it  in  his 
hand,  watching  ROSALIE.  She  stands  lost  in  her 
dreams.  DUNN  enters  with  HELEN  O'NEILL 
down  L.) 

DUNN.     Here  she  is,  Inspector. 

DONOHUE.  Come  here,  Miss.  (HELEN  crosses 
to  DONOHUE.  To  DUNN,)  Go  get  a  taxi. 

(DuNN  turns  and  exits  L.  The  OTHERS  enter  and 
stand  crowding  in  the  doorway.  WILL  pushes 
through  and  crosses  and  stands  by  HELEN  up 
R.C.  right  end  of  settee.) 

CROSBY.  (Up  L.c.J  What  is  it?  You  sent  for 
us. 

DONOHUE.  (Between  table  and  settee  c.)  She 
says  her  daughter's  not  guilty.  I  gave  her  ten  min 
utes  to  find  out  who  is.  The  time's  up.  (He  puts 
his  watch  back  in  his  pocket.  He  turns  to  ROSALIE^ 
Well? 

(ROSALIE  stands  rigid.     There  is  a  long  pause. )\ 

ROSALIE.  (Below  table  R.J  You  that's  hidin', 
come  out. 

READY  DOOR 

DONOHUE.  Come  on.  (He  takes  HELEN  by  the 
hand.  They  go  up  R.  above  table.) 

ROSALIE.  (Lower  end  of  table  R.J  You  that's 
skulkin',  come  out !  The  message  has  come.  I  call 
on  the  spirit  of  Edward  Wales.  I  call  on  the  spirit 


THE  THIRTEENTH  CHAIR  103 

of  Edward  Wales.    Now  you  that's  killed  two  men, 
look! 

(The  door  at  L.  of  fireplace  slowly  swings  open. 
MASON,  with  a  cry  of  horror,  pushes  through 
the  croivd  at  the  doorway,  which  parts  to  let 
him  through.  He  follows  the  spirit  he  sees  mov 
ing  across  the  stage  until  he  is  at  c.  and  a  little 
above  the  table.  MRS.  TRENT,  ERSKINE  and 
STANDISH  below  door  down  L.  TRENT,  MRS. 
CROSBY,  Miss  EASTWOOD  c.  above  door  L.  All 
watch  MASON.  Suddenly  the  window  curtains 
are  thrown  back,  the  shade  runs  up  noisily  and 
the  lights  go  down.  The  street  light  strikes  the 
knife  in  the  ceiling,  as  it  begins  to  fall.  MA 
SON'S  eye  follows  the  light.  He  sees  the  knife 
and  gives  a  cry  of  horror  as  it  strikes  the  table 
and  sticks  in  front  of  him.  MASON  rushes  up 
stage  end  of  table  R.J 

MASON.  (With  a  cry)  I  can't  fight  the  dead. 
I  can't  fight  the  dead ! 

(Slowly  ROSALIE  points  at  him.    The  OTHERS  stand 
and  stare.) 

ROSALIE.  Go  on,  tell  it.  (Lower  R.  side  of 
table  R.j 

MASON.  I  had  to  do  it.  I  was  afraid  Mr.  Wales 
would  know. 

ROSALIE.     You  killed  them  both  ? 

MASON.     Yes. 

ROSALIE.  Mr.  Wales  to  prevent  his  finding  out 
about  Spencer  Lee? 

MASON.     Yes. 

ROSALIE.     And  Spencer  Lee? 

L  up  R.C.  above  settee  c.) 


104  THE  THIRTEENTH  CHAIR 

MASON.  He  ought  to  have  been  killed.  I'd  been 
waiting  for  years  to  kill  him. 

ROSALIE.     Why  ? 

MASON.  That's  between  him  and  me.  He 
smashed  my  life,  and  by  God,  I  got  him.  He  knows 
why  I  killed  him,  I  told  him  I  would.  I'm  glad  I 
did.  I  only  wish  I  could  have  done  it  over  and 
over  again.  That's  all. 

ROSALIE.     Why  did  you  kill  Spencer  Lee? 

MASON.  He  took  her  away  from  me.  She  was 
the  one  thing  in  the  world  and  he  took  her  away 
from  me.  I  went  to  Paris  to  forget  and  all  I  could 
do  was  to  remember.  Then  she  died,  and  I  made 
up  my  mind  that  he  must  die,  too. 

DONOHUE.  How  did  you  get  the  knife  in  the 
ceiling? 

MASON.  I  threw  it.  Just  as  I  threw  a  knife 
into  Spencer  Lee's  back.  I  stood  in  the  doorway  of 
his  room  and  told  him  I'd  come  to  kill  him,  and  he 
ran  for  his  revolver,  and  as  he  ran  I  threw  the  knife 
into  his  back.  Then  I  picked  up  my  knife,  and 
walked  away.  No  one  saw  me.  I  was  quite  safe. 
Quite  safe  until  she  came.  And  unseen  hands 
pushed  me  forward.  Unseen  hands  have  pointed 
the  way.  She's  not  human.  Lee's  message  came 
through  her — you  all  heard  Wales  speak ;  out  of 
her  lips  we  heard  Wales'  voice.  He  said  he'd  come 
back,  again  and  again  and  again.  And  then  he 
came!  I  saw  him  as  he  came  through  the  door! 
God  Almighty,  you  can't  fight  the  dead !  (He  turns 
suddenly  and  walks  to  door  L.  As  he  opens  it  SER 
GEANT  DUNN  steps  into  the  room.) 

DONOHUE.     That's  your  man,  Sergeant. 

DUNN.  (Putting  his  hand  on  MASON'S  arm) 
You  got  him? 

DONOHUE.     Yes,  I  got  him. 

DUNN.  Great  work,  chief,  great  work.  (He 
takes  MASON  off  down  L.J  WARN 


THE  THIRTEENTH  CHAIR  105 

("HELEN  crosses  down  to  lower  end  of  table  R.) 

ROSALIE.  (As  they  disappear  from  view)  The 
poor  young  fella,  the  poor  young  fella. 

DONOHUE.  Ladies  and  gentlemen,  you  are  all 
quite  at  liberty.  (He  goes  toward  door  L.) 

CROSBY.  Thank  you,  Inspector,  for  your  consid 
eration. 

DONOHUE.  Not  at  all,  it  was  the  best  way  out 
of  it. 

ROSALIE.     Inspector.     (Coming  below  table  R.  to 

R.C.J 

DONOHUE.     (Half  turning)     Yes? 
ROSALIE.     My  congratulations. 

(He  looks  at  her  for  a  moment,  then  turns  back  and 
shakes  hands  with  her.) 

DONOHUE.  You  were  quite  right  about  me.  I 
was  a  damn  fool.  (He  exits  at  L.) 

( HELEN  coming  below  table  R.) 

MRS.  TRENT.  (Turning  to  her  father  up  L.C. 
with  a  cry)  Oh,  Daddy,  Daddy !  I  lied  about  her. 
I  lied  about  her. 

( CROSBY  takes  her  in  his  arms,  up  L.    HELEN  crosses 
to  ROSALIE  from  below  table  R.) 

ROSALIE,  (c.)  There's  nothing  but  happiness 
comin'  to  ye.  The  spirits  tell  me  ye're  the  favorite 
child  af  fortune.  You'll  have  wealth  and  prosperity 
and  happiness.  You'll  marry  the  man  ye  love,  and 
ye'll  be  happy— 

CURTAIN 


ELECTRICIAN'S  PLOT 
ACT  I 

Foots  full  rose,  ambers  £4  at  r^se-  Light  switch 
down  stage  side  of  door  down  left.  Hanging  lamps, 
post  lamps,  table  lamps,  lit.  Amber  strip  in  door 
way  down  left,  lit.  One  light  strip  amber,  in  door 
way  R.c.  and  L.c.  Two  light  strip  amber,  hung  on 
fireplace  backing.  Two  blue  bunches  outside  window 
right,  lit.  Baby  amber  shooting  across  stage  from 
window  right.  Baby  amber  striking  mantel  up  cen 
ter  from  window  right.  Amber  baby  down  left  at 
proscenium  arch  shooting  across  stage,  lit.  Blue 
baby  focused  to  strike  Rosalie  in  chair  center  from 
window  right,  OUT  AT  RISE.  White  frost  spot 
in  position  outside  of  window  right  to  strike  ceiling 
on  cue  OUT  AT  RISE. 

ist  Cue 

When  Rosalie  lifts  table  first  time,  sneak  off  baby 
down  stage  left,  also  baby  from  window  right  that 
starts  across  stage. 

2nd  Cue 

After  Pollock  locks  door  down  left,  all  entrance 
strips  and  baby  down  left,  out. 

3rd  Cue 

When  Crosby  pushes  button,  all  foots  out.    Brack- 
106 


THE  THIRTEENTH  CHAIR  107 

ets  out,  lamp  posts  out.  Amber  babies  at  window 
right,  out.  At  same  time,  white  spotlight  on  ceil 
ing,  LIT. 

4th  Cue 

When  Will  pulls  chain  on  table  lamp  right  end  of 
settee,  table  lamp  out.  Two  babies  from  window 
out. 

5th  Cue 

When  Crosby  says  "The  reflection  on  the  ceiling 
is  too  strong,"  Will  pulls  chain  on  table  lamp  right 
end  of  settee  table  lamp  and  two  babies  from  win 
dow  right,  LIT. 

6th  Cue 

Will  pulls  down  window  shade,  spot  on  ceiling  and 
blue  bunches  OUT.  Then  when  Will  pulls  chain 
on  the  table  lamp  right  end  of  settee,  table  lamp,  two 
babies  outside  window  right,  OUT. 

7th  Cue 

When  Crosby  says  "Lights,  son,"  table  lamp  right 
end  of  settee,  LIT.  Two  babies  from  window  LIT. 
Amber  foots  Y^  LIT.  Bring  on  blue  baby  outside 
window  right. 

8th  Cue 

When  Will  pulls  chain  on  table  lamp  right  end  of 
settee,  table  lamp,  two  babies,  amber  foots,  OUT, 
leaving  blue  spot,  LIT. 


io8          THE  THIRTEENTH  CHAIR 
9th  Cue 

When  Crosby  says  "Lights,  son,"  table  lamp  right 
end  of  settee,  LIT ;  two  amber  babies,  LIT ;  amber 
foots,  ys  LIT. 

NOTE:  All  house  lights  in  front  (Auditorium) 
must  be  OUT  when  Rosalie  and  ladies  enter 
after  Rosalie  has  been  searched.  This  is  very 
important. 

ACT  II 

Amber  foots,  half  up.  Hanging  brackets,  lamp 
posts,  table  lamps,  entrance  strips,  LIT.  Amber 
baby  down  in  left  first  entrance,  LIT.  Blue  bunches 
outside  of  window  right,  LIT.  Fireplace,  LIT. 
Lights  stand  during  this  act. 

ACT  III 

Everything  OUT  at  RISE  except  amber  strip  and 
amber  baby  in  left  first  entrance  and  blue  bunches 
outside  of  window,  right,  which  are  LIT. 

ist  Cue 

After  prayer,  Rosalie  raises  windowshade,  white 
spot  or  knife  in  ceiling,  LIT. 

2nd  Cue 

Inspector  pushes  lights  lit,  amber  foots  ^2,  table 
lamps,  brackets,  post  lights,  LIT. 

NOTE:  No  lights  in  entrance  R.C.,  L.C.  and  fire 
place. 


THE  THIRTEENTH  CHAIR  109 

3rd  Cue 

Rosalie  pushes  light  switch,  foots,  table  lamps, 
brackets,  post  lights  OUT.  Spot  on  knife  from  out 
side  window  right,  LIT. 

4th  Cue 

Pollock  pushes  light  switch,  amber  foots,  table 
lamps,  brackets,  post  lights,  LIT  same  as  AT  RISE. 
Spot  on  knife,  OUT. 

5th  Cue 

Rosalie  says  "I  call  on  the  spirit  of  Edward 
Wales,"  start  to  dim  foots  to  %.  Must  be  down 
on  word  "look."  As  window  shade  flies  up,  spot  or 
knife,  LIT.  As  knife  leaves  ceiling  spot  OUT  and 
amber  foots,  flash  up,  full. 


i  io          THE  THIRTEENTH   CHAIR 
SCENE  PLOT  FOR  ACT  I 

Italian  Room  in  ROSCOE  CROSBY'S  home,  New  York.  A  hand 
somely  furnished  square  room.  1.  Door  opening  on  stage  down 
L.  2.  Door  opening  on  stage  at  back  L.C.  3.  Door  opening  on 
stage  R.C.  4.  Large  fireplace  c.  at  back.  The  fireplace  with  an 
tique  fire-dogs  must  be  large  enough  for  man  to  make  an  en 
trance  coming  through  chimney.  5.  Large  window  over  R.  in 
arch.  6.  Platform  one  step  high  running  full  length  of  win 
dow,  which  is  three  sashes  long.  Trick  blind  on  centre  pane. 
Curtains  on  pole  on  centre  windows  to  work  on  cue.  7.  Up  c. 
in  front  of  fireplace  facing  up  stage,  large  chesterfield  sofa  two 
feet  wide.  8.  Facing  audience  another  large  chesterfield  sofa, 
c.,  sofas  back  to  back.  9.  At  each  end  of  sofas  small  console 
tables.  Console  table  at  right  end  of  sofa  is  the  trick  table 
which  ROSALIE  lifts.  On  console  tables  at  either  end  of  sofa, 
table  lamps.  On  console  table  left  end  of  sofa,  fancy  cigarette 
box  with  cigarettes  and  match-box  and  ash-tray.  10.  Right  of 
the  door,  R.C.,  large  antique  Italian  chest.  11.  Left  of  door, 
L.C.,  large  antique  chest.  Vases  on  chests.  ^  On  flat  over  L. 
large  tapestry.  12.  Against  wall  over  L.  running  up  and  down 
stage  long  ornate  Italian  chest  13.  At  either  end  of  this  chest 
Italian  lamps,  seven  feet  high,  standing  on  floor.  Below  door 
down  L.,  on  flat,  an  antique  clock.  14.  Below  door  down  L., 
arm-chair.  15.  Left  side  of  fireplace  chair  with  cushion  seat. 
On  mantel  two  large  antique  vases.  16.  Right  side  of  fireplace, 
chair  with  cushion  seat.  17.  Large  arm-chair.  18.  Over  right 
is  a  large  library  table  sitting  diagonally  up  and  down  stage. 
On  table:  book-rack  with  four  books,  desk-pad,  stationery- 
holder  with  stationery,  pens,  pencils,  ink-box,  magazines.  19. 
Arm-chair  back  of  table.  20.  Chair  below  table.  21.  Chair 
above  table.  22.  On  platform  in  window  arch,  long  seat.  23. 
Below  window  arch  long  arm-chair.  24.  Large  wall  lanterns, 
on  up  stage  and  down  stage,  end  of  window  arch.  Plush 
valence  or  drapery  for  windows.  Rugs  on^  ground  cloth.  On 
flat  right  of  doors  up  R.C.  small-sized,  painted  image  of  the 
Virgin.  Interior  backing  for  door  down  L.,  up  L.C.,  and  R.C. 
Fireplace  backing.  Exterior  backing  for  window  over  R.  25. 
Off  stage  down  L.  large  Italian  table  with  two  bronze  vases, 
and  a  shrine  of  the  Virgin  on  it.  Off  stage  R.C.  are  eight  small 
chairs,  to^  be  brought  on  stage  on  cue  during  First  Act.  In 
ceiling,  directly  over  table  R.,  is  a  double  slot  to  hold  knives. 
During  First  Act,  after  WILLIAM  puts  out  table  lamp,  after 
Miss  EASTWOOD'S  scream,  the  knife  in  down  stage  slot  is  let 
down  in  sight  of  audience.  Seen  with  point  sticking  in  ceil 
ing.  Between  Second  and  Third  Acts,  the  knife  that  falls  on 
cue,  during  Third  Act,  is  placed  up  stage  slot  jn  ceiling,  ^with 
point  downwards.  Setting  the  knife  down  in  view  of  audience 
in  First  Act,  as  well  as  releasing  the  second  knife  so  that  it 
falls,  and  sticks  in  table  during  Third  Act,  is  worked  by 
strings  off  staerp.  R. 


V      J 

17 

j<0 

E 

S~\ 

THIRTEENTH 
ACT.  I 

Yeiller 
Thirteenth  chair 

'  I 

SEP  1  4  I9k0 


E4 
25 


J5 


£-4 
T5- 


UNIVERSITY  FARM  LIBRARY 


Three  Live  Ghosts 

;>dy  in  3  aets  by  Frederick  Isham  and  Max  Marcin.     9 
4    females    (2   policemen).     1  interior   throughout,      Cos- 

dem.     Flays  2%  houra. 

"Three  iLive  Ghosts"  is  brim  full  of  fun  and  humor  and  is 

:<1ienceg   in   gales   of  laughter.     The    New   York 

•rifoed  it  as  the  most  ingenious  and  amusing:  eomerly 

;tely    funny.      It    played   a   full    season    in? 

.oured  the  big:  cities.    A  lively  comedy  of  merit. 

.00.    Price,  75  cents. 

miEL  FRENCH,  25  West  45th  Street,  New  York  City 
and   Explicit   Descriptive    Catalogue   Mailed 
Free   on   Request 


STAMPED   BELOW 


BOOKS  REQUESTED   BY  ANOTHER   BORROWER 
ARE  SUBJECT  TO  RECALL  AFTER  ONE  WEEK. 
RENEWED   BOOKS  ARE  SUBJECT  TO 
IMMEDIATE   RECALL 


a  me 

ion; 


LIBRARY,  UNIVERSITY  OF  CALIFORNIA,  DAVIS 

D4613   (12/76) 


Oldest  Play  Publisher  in  the  World 
25  We«t  45th  Street  NEW  YORK  CITY 


